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ON FREE PUBLIC VIEW 
AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


BEGINNING SATURDAY, APRIL 17th, 1920 
FROM 9 A.M. UNTIL 6 P. M. 


AND CONTINUING UNTIL THE DAY OF SALE 


THE WIDELY KNOWN COLLECTION 
OF THE CONNOISSEUR, THE LATE 


FRANK BULKELEY SMITH 


OF WORCESTER, MASS. 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
BY DIRECTION OF THE ADMINISTRATORS 


IN THE GRAND BALLROOM OF 


THE PLAZA HOTEL 


FIFTH AVENUE, 58th to 59th STREET 


ON THURSDAY AND FRIDAY EVENINGS 


APRIL 22nd AND 23rd 
BEGINNING PROMPTLY AT 8.15 O'CLOCK 


1,904 Al 


ILLUSTRATED CATALOGUE 
OF THE 


REMARKABLE AND WIDELY KNOWN COLLECTION 


OF 
EARLY AMERICAN AND BRITISH 


PORTRAITS, LANDSCAPES AND 
HISTORICAL PICTURES 


FORMED BY THE CONNOISSEUR, THE LATE 


FRANK BULKELEY SMITH 


OF WORCESTER, MASS. 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
BY DIRECTION OF THE ADMINISTRATORS 
ON THE EVENINGS HEREIN STATED 


IN THE GRAND BALLROOM OF 


THE PLAZA HOTEL 


THE SALE WILL BE. CONDUCTED BY MR. THOMAS E. KIRBY AND HIS 
ASSISTANTS, MR. OTTO BERNET AND MR. H. H. PARKE, OF 
THE AMERICAN ART ASSOCIATION, MANAGERS 
NEW YORK 
1920 


Eh srmraim £IDRDARYV 
TOPEKA PUBLIU LIDKRAN! 


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THE AMERICAN ART ASSOCIATION 
DESIGNS ITS CATALOGUES AND DIRECTS — 
ALL DETAILS OF ILLUSTRATION 


+s 


TEXT AND TYPOGRAPHY 


CONDITIONS OF SALE 


1, Any bid which is merely a nominal or fractional advance may 
be rejected by the auctioneer, if, in his judgment, such bid would be 
likely to affect the sale injuriously. 

2. The highest bidder shall be the buyer, and if any dispute arise 
between two or more bidders, the auctioneer shall either decide the same 
or put up for re-sale the lot so in dispute. 

3. Payment shall be made of all or such part of the purchase 
money as may be required, and the names and addresses of the pur- 
chasers shall be given immediately on the sale of every lot, in default 
of which the lot so purchased shall be immediately put up again and 
re-sold. 

Payment of that part of the purchase money not made at the 
time of sale shall be made within ten days thereafter, in default of 
which the undersigned may either continue to hold the lots at the 
risk of the purchaser and take such action as may be necessary for 
the enforcement of the sale, or may at public or private sale, and 
without other than this notice, re-sell the lots for the benefit of such 
purchaser, and the deficiency (if any) arising from such re-sale shall 
bea charge against such purchaser. 

4. Delivery of any purchase will be made only upon payment 
of the total amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 
A. M. and 1 P. M., and on other days—except holidays—between the 
hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American Art 
Galleries, or other place of sale, as the case may be, and only on pre- 
senting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of 
any purchase during the session of the sale at which it was sold. 

5. Shipping, boxing or wrapping of purchases is a business in 


which the Association is in no wise engaged, and will not be performed 


by the Association for purchasers. The Association will, however, 
afford to purchasers every facility for employing at current and 
reasonable rates carriers and packers; doing so, however, without any 
assumption of responsibility on its part for the acts and charges of 
the parties engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the pur- 
chaser. ‘Title passes upon the fall of the auctioneer’s hammer, and 
thereafter, while the Association will exercise due caution in caring 
for and delivering such purchase, it will not hold itself responsible if 
such purchase be lost, stolen, damaged or destroyed. 

Storage charges will be made upon all purchases not removed 


within ten days from the date of the sale thereof. 


~. Guarantee is not made either by the owner or the Association 
of the correctness of the description, genuineness or authenticity of any 
lot, and no sale will be set aside on account of any incorrectness, 
error of cataloguing, or any imperfection not noted. Every lot is 
on public exhibition one or more days prior to its sale, after which 
it is sold “as is” and without recourse. 

The Association exercises great care to catalogue every lot cor- 
rectly, and will give consideration to the opinion of any trustworthy 
expert to the effect that any lot has been incorrectly catalogued, and, 
in its judgment, may either sell the lot as catalogued or make mention 
of the opinion of such expert, who thereby wouid become responsible 
for such damage as might result were his opinion without proper 


foundation. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


CATALOGUE 


FIRST EVENING’S SALE 


THURSDAY, APRIL 22, 1920 


IN THE GRAND BALLROOM 
OF THE PLAZA 


BEGINNING AT 8.15 O'CLOCK 


UNKNOWN ARTIST 


1—THE PURSUING SATYR 
(Wood) 
Height, 914 inches; width, 7 inches 
Two small, full-length nude figues. A nymph attempts to climb a tree 


in her effort to escape from the satyr who, approaching from the left, 
attempts to assault her. Blue sky at the back 


BYZANTINE SCHOOL 


2—AN IKON: THE MADONNA AND CHILD 
(Wood) 
Height, 13814 inches; width, 1044 inches 
Tue Madonna, in fanciful Greco-Byzantine robes and with a large cir- 
cular nimbus, holds the Infant on her left arm. Greek inscription of 


“The Mother of God” in the roundels at the back. The whole compo- 
sition is contained within a brown and an outer red border. 


THOMAS STOTHARD, R.A. 
EneuisH: 1755—1834 


3—A MIDSUMMER NIGHT'S DREAM 
(Wood) 


Height, 9 inches; width, 634 inches 


A nupE figure reclines on her side in a blaze of light in a bower. She 
makes a gesture to a cupid on the left; another is above, on the right. 


UNKNOWN 


Earty AMERICAN SCHOOL 


4—PORTRAIT OF A YOUNG MAN 
( Panel) 


Height, 934 inches; width, 84 inches 


Har-LenctH seated, facing the front, shoulders turned slightly to 
left. A young gentleman of high and broad forehead, large eyes and 
nose, smooth-shaven and with thick brown hair swept lightly above his 
brow and brought easily forward beside his temples. He is in formal 
dress, toward the second quarter of the nineteenth century, with black 
coat and double-breasted cream-colored waistcoat, choker collar and 
heavy black cravat. Dark neutral background of greenish-blue. 


UNKNOWN 


Earty AMERICAN SCHOOL 


5—PORTRAIT OF A MAN 
Height, 10 inches; width, 8 inches 


A MAN in middle life, of much dignity of bearing, seated and facing the 
left, three-quarters front, and observed at half-length against a neutral 
background of light grayish-brown. His sandy hair has retreated from 
his already high forehead, and except for short side-whiskers he is 
clean-shaven; complexion warm. He wears a blue coat with high- 
rolled collar, white collar with choker-wings and black cravat, and white 
waistcoat which opens low. 


HENRY INMAN 
AmeErIcAN: 1801—1846 


6—-PORTRAIT OF A MAN 
(Panel) 
Height, 16 inches; width, 12 inches 


THREE-QUARTER-LENGTH portrait of a gentleman in full middle life, 
seated and facing the spectator, to right, three-quarters front. He is 
of high and broad forehead and large features, with agreeable expres- 
sion and thoughtful, and he holds a book in both hands, resting on 
his lap, a finger between the leaves. Smooth-shaven after the fashion 
of his time, curly side-whiskers connecting with his dark hair disappear 
within his choker collar, about which is worn a deep black stock. Black 
coat and velvet waistcoat, and buff trousers. 


ATTRIBUTED TO 
SIR JOSHUA REYNOLDS 
EnceutsnH: 1723—1792 


7—A YOUNG GIRL 
Height, 1314 inches; width, 11 inches 


Bust, leaning forward; brown hair; blue eyes looking to the right. In 
a red dress. 


UNKNOWN 
Earty AMERICAN SCHOOL 


8—PORTRAIT OF A LADY 


Height, 12 inches; width, 10 inches 


Hatr-Lenertu, seated; to right, three-quarters front. A lady young 
but mature, with large features, and curled hair of deep mahogany- 
brown hue. In a very low-necked white gown, edged with lace, green 
belt, and over her arms a wrap or drapery of golden-brown. Neck 
encircled by a long gold watch chain and a coral necklace. In her hair 
a bunch of flowers. A companion to No. 9 and by the same artist. 


UNKNOWN 


Earty AMERICAN ScHOOL 


9—PORTRAIT OF A GENTLEMAN 


Height, 12 inches; width, 10 inches 


Har-LencTH, seated; to left, with face three-quarters front. A 
smooth-shaven young man with light and bushy chestnut hair, large 
features and a smiling expression. He is in the costume of the early 
nineteenth century, a coat of deep greenish-blue with gilt buttons, white 
choker collar and stock, and creamy waistcoat. A companion portrait 
to that of the lady, No. 8, and by the same artist. 


JOHN COLE, JR. 


British ScHOooL 


10—PORTRAIT OF A MAN 
Height, 12% inches; width, 1088 imches 


Bust portrait, to right, with face nearly full to the front; a youngish 
man, with fair skin and pinkish cheeks; clean-shaven; hair of light 
sandy-yellow, brushed with engaging and effective carelessness in 
sweeps and curls which twist around his brow and temples. In black 
with white stock. Neutral grayish background. 


GUSTAVUS HESSELIUS 


AMERICAN: Earty EIGHTEENTH CENTURY 


11—JOHN LEEDS (1705-1790) 
Height, 14 inches; width, 12 inches 


HaL¥F-LENGTH portrait of a smooth-shaven man, plump and of rosy 
face, with prominent nose and large dark brown eyes; seated, to right, 
three-quarters front, with light from the left and against a dark back- 
ground. He wears a large turban-like cap of old-rose, and a dark 
olive coat with old-rose revers, an olive-brown waistcoat and a white 


neckcloth. 

John Leeds was born at the family homestead in the Bay Hundred of Talbot 
county, Md., and died at Wades Point Plantation. He was Surveyor-General of 
Maryland, and in 1760-1764 was specially commissioned to supervise the boundary 
between Maryland and Pennsylvania. In 1769 he wrote “Observations of the Transit 
of Venus.” He was for forty years clerk of the County Court; was treasurer of 
the Eastern Shore; was Judge of the Province Court. 

The portrait came from the residence of Charles J. Kerr, at one time United 
States Attorney at Baltimore, a great-great-grandson of John Leeds of Wades Point. 

Gustavus Hesselius was a Swede by birth, who came to America in 1711, and 
established himself as a man of mark in the early art of the Colonies, whose artistic 
worth has been recognized by succeeding critics. He was the father of the American 
portrait painter John Hesselius, who was born in 1728 and whose portraits are 
found in Maryland following the middle of the Eighteenth century. John Hesselius’s 
natal year coincided with the mortal year of Henrietta Johnson, whose work is 
represented in this collection. The portrait here identified as of John Leeds by 
those whose authority Mr. Smith accepted is not aggressively American in its sug- 
gestion, yet its color and inspiration seem less foreign in the light of a remark by 
Charles Henry Hart that “Gustavus Hesselius of Sweden * * * still holds the place 
of the first painter of consideration in the Colonies, whose Last Supper, executed in 
1721-1722, is quite equal in conception and execution to the same subject painted 
by many of the Old Masters.” 


THOMAS DOUGHTY 


AMERICAN: 1793—1856 


12—LANDSCAPE WITH FIGURES 
Height, 1214 inches; length, 1534 inches 


A RIVER silvery blue and white from the sky and shadowed by reflections 
of trees and rocks on its banks comes through a green landscape some 
of whose foliage has turned to autumn browns. At left in the fore- 
ground are two young men, one standing, one seated, their trousers 
rolled up to their knees, fishing. 


GEORGE MORLAND 
Encuisu: 1763—1804 


13—_SHASCAPE 
Height, 13 inches; length, 1614 inches 


A TWo-MASTED ship in a gale near rocks, on the left. Cloudy sky. 


MANNER OF HOGARTH 


14—AN INTERIOR 
(Wood) 
Height, 15 inches; width, 1114 inches 


Four small half-length figures. An old lady, in brown dress and black 
mantle, is seated near a table on which are gold coins and documents. 
She addresses a man by her side, while another examines a timepiece 
and a third hands her a receipted paper. <A dog on a chair in the right 
foreground. 


GEORGE MORLAND 
Ewen: 1763—1804 


15—A FARM HAND RESTING 
Height, 12 inches; width, 10 inches 
SMALL, full-length figure of a farm laborer, in a red coat, seated under 


a tree with a hay fork by his side, a dog on the ground; the village 
church in the distance. 


PERIOD OF 


HOGARTH 


16—AN ARTIST IN CONTEMPLATION 


Height, 1534 inches; width, 111% inches 


Sma full-length figure of a dwarf who, as an artist, admires a paint- 
ing of a nude woman Ixion who stands on a wheel placed on the ground 
between two horses. Papers near a chair in the foreground. 


SIR DAVID WILKIE, R.A. 
Eneutsu: 1785—1841 


17—THE BLIND FIDDLER 
Height, 9 inches; length, 114% inches 


Aw itinerant musician is entertaining a cottager and his family; the 
father gaily snaps his fingers at an infant on the knees of its mother. 
All of the twelve small figures appear to be intent upon the music of 
the fiddler. The accessories are very minute and elaborately painted. 


The composition recalls, but differs from that by Wilkie in the National Gallery, 
London, which is signed and dated and measures 28 inches by 31 inches. The 
larger picture is discussed at length in Pinnington’s “Wilkie,” p. 67. 

Mr. Philip J. Gentner, director of the Worcester Art Museum, writing to Mr. 
Frank Bulkeley Smith, on May 10, 1913, says: 


“Wilkie’s painting “The Blind Fiddler,’ exhibited some months ago in the 
Worcester Art Museum, is probably a smaller work executed as a model for his 
larger one now in the National Gallery, London. The latter work, executed for Sir 
George Beaumont, was painted with exceptional care and under circumstances 
which gave it unusual reputation, but for all that its superiority to your little 
masterpiece is doubtful. Both exhibit the same scrupulous drawing, mastery of 
exact detail and bright local coloring kept in harmony by the clear silvery qualities 
of tone and interior light for which Wilkie remains unrivalled.” 


SIR WILLIAM BEKCHEY, R.A. 


Enausyu: 1753-—1889 


I8S-BHNGGARS AT -A COTTAGE DOOR: 
SCENI NEAR DOVER, ENGLAND 
(Panel) 


Height, 12 inches; length, 14% inches 


Aw aged beggar, with a load of faggots on his back, appears at the 
door of a cottage in the left foreground and begs alms of two girls, On 
the right is a high bank, the sea in the distance. 

On the back of the panel in the artist's own handwriting: “This picture sketched 
from Nature and painted at the house of David Pyke Watts, Esqr, te whom it 
was presented as a mark of humble esteem and regard by his sincere friend, 
W. Beechey, 1802.” 

One of four companion pictures presented in 1802 by the artist to 
David Pyke (or Pike) Watts, of Dover and of Portland Place. 
London, 


In the collection of Jesse Watts Russell, of Tlam Hall, Staffs, sold 
July 8, 1875, No. 4. Sold at Christie's, May 6, 1905, 


In the possession of E, E. Leggatt Bros., London, and of C. W. Kraus- 
haar, New York. 


Roberts; “W. Beechey.” 1907, p. 79. 


WILLIAM ETTY, R.A. 
Eneusu: 1787—1849 


19—A NUDE 
( Panel ) 


Height, 20 inches; width, 14 inches 
A sMALL full-length figure of a nude woman, her back to the spectator, 


in a studio. She rests her right knee on a cushion. A red curtain in 
the background. : 


SIR EDWIN H. LANDSEER, R.A. 
EncutsH: 1802—1873 


20—THE RETURN FROM HAWKING 
Height, 26 inches; width, 1914 inches 


Two small full-length figures. A woman in a white dress and green 
cloak stands at the door of the house; a dog at her side. She receives 
a young man, in a red coat, who returns from the day’s sport with 
game hung over his shoulders. Sketchily painted. 

Landseer painted, and exhibited at the Royal Academy in 1837, a picture with 
this title. It contains the portraits of Lord Francis Egerton (afterward created 
Earl of Ellesmere) and family. It belongs to the Earl of Ellesmere. It was 
engraved by Samuel Cousins in 1840, and by C. G. Lewis; there is also a lithograph 
by Lafosse. 

A. Graves: “Landseer,” p. 19. 

From the collection of A. Harris, who paid Landseer £110 for it. The 
autograph account is affived to the back of the panel. 


JOHN CROME (OLD CROME) 
EncuisH: 1768—182] 


21— PART OF A FOREST 
Height, 25 inches; width, 20 inches 


Own the outskirts of a wood, a man and a woman are seated on the trunk 
of a fallen tree. Cottages and other figures in the right distance. 


Purchased from Messrs. Arthur Tooth & Sons, Londow 


Dee dae a aaa 


perenne gnunauaerer, Sie ee ae 


ze 


THOMAS DOUGHTY 
AMERICAN: 17938—1856 


22—LANDSCAPE WITH FIGURE 
(Panel) 
Height, 1814 wmches; width, 14%, inches 


A uicu cliff of brownish shale rock abuts on the right, its centre eroded, 
a naked ledge below, and a crest ledge above topped by green trees and 
shrubs. In the foreground to right, other trees rise against the shale 
wall, and wild flowers bloom at their foot, at the edge of a stream which 
winds back along a densely wooded background shore at the left. Ona 
green bank at the foot of the lower rock ledge a man in his shirt-sleeves 
stands fishing with a pole and line. 


THOMAS DOUGHTY 


AMERICAN: 1793—1856 


23—_-LANDSCAPE 
Height, 18 inches; width, 15 inches 


Ar left in sunlight a cliff of various ledges, with slender trees crowning 
it, and other trees showing autumn colors and some blasted limbs pro- 
jecting at different levels lower down. At right a taller cliff partly in 
its own shadow, its face a mass of dense green trees, broken only by 
occasional outstanding walls of brown rock. In the gorge between 
the cliffs a dark green river of placid current, and on it in the right 


foreground two men in a boat. 


GEORGE DE FOREST BRUSH, N.A. 


AMERICAN: 1855— 


24—THE WEAVER 
Height, 12 inches; length, 15 inches 


Ix a plain room whose brown and gray walls are partly shadowed, a 
Navajo Indian squats low on a seat formed of two logs with a skin 
thrown over them, and works at his primitive loom, weaving a dark 
vermilion and checkered rug. He is nude save for a black silver-studded 
belt supporting a loose and flowing breech cloth of dark green, and his 
black hair is bound in an orange fillet. Behind him is a water bottle of 
dark green pottery, and above him hangs a black and gray woven 
blanket. 

Signed at the lower right, Gro. pz F. Brusu, 1909. 


Exhibited at the Worcester Art Museum. 


WINSLOW HOMER, N.A. 
AMERICAN: 1836—1910 


25—THE COCK FIGHT 
(Water Color) 
Height, 1014 inches; length, 19 inches 


A proup though much-punished game cock, with head and clipped tail 
erect, stands athwart the picture, over the body of his finished antag- 
onist, while the ground about them is strewn with feathers from both 
of the valiant birds. 

Signed at the lower right, Homer, 1885. 


Manuscript note on the back, by Mr. Smith, saying that he met Homer at 
M. Knoedler & Co.’s in 1910, and that Homer told him he painted three pictures 
of game cocks when in Santiago de Cuba in 1885; that one of them (this picture) 
went to La Farge, who later sold it. 


From M. Knoedler & Co., 1910. 


UNKNOWN 


Earty AMERICAN ScHOOL 


26—SIGNERS OF THE DECLARATION 
OF INDEPENDENCE 


Height, (each) 101% inches; width, 9 inches 


Set of fifty-four oil portraits on heavy millboard, probably painted in 
the early part of the second quarter of the nineteenth century (when 
three of the Signers were still living) ; contemporary identification in 
manuscript on back of each. An old catalogue record says: “Evidently 
painted many years ago for engravers’ use or for some historical 
museum. Bought in Philadelphia many years ago, and it is possible 
they came from Peale’s Museum. Without doubt seventy-five years 
old.” ‘The frames bear the label, “Jules A. Bautz, Maison Francaise, 
290 Sixth avenue, N. Y.” Nearly complete set—fifty-three of the 
fixty-six Signers, and portrait of Charles Thompson, the secretary ; the 
three Signers whose portraits are missing, were Benjamin Franklin, 
Samuel Huntington and James Smith. Ten of the portraits have old- 
fashioned gold frames; the others are unframed. 


UNKNOWN 


Earty AMERICAN SCHOOL 


27—GHORGE WASHINGTON 
(Oval panel) 


Vertical diameter, 221% inches; horizontal, 1924 inches 


Heap and shoulders portrait of the First President, in civilian clothes, 
with black coat and grayish waistcoat, and white stock and jabot. 
Shoulders to left, face nearly full to the front, and gray wig tied with 
a black bow. The features are finely drawn and full of color, and 
show an incipient humorous smile which is emphasized by the glance of 
the eye. Painted within a reeded, basketed and beflowered frame as 
though copied, or enlarged from a miniature, the background a 
neutral brownish-gray. 


FRANCIS ALEXANDER 
AMERICAN: 1800—1881 


283—JOHN L. GOULD 
(Panel) 


Height, 8% mches; width, 714 inches 


THREE-QUARTER-LENGTH portrait of a youngish, smooth-shaven man, 
stout, with high forehead and light curly hair, the hair brushed well 
back; seated, facing the left, three-quarters front. He is in a gray 
coat, with Byronic collar and black flowing scarf, and white plaited 
shirt. His left arm rests on a red-covered table which holds a book, an 
inkwell and writing paper, and in his left hand he holds a quill pen. 

Francis Alexander was born at Windham, Connecticut. In 1820 he came to 
New York and studied under Alexander Robertson and in 1838 went to Rome. 


Thereafter he was in Boston for a decade, and there in 1842 painted Charles Dickens. 
He died in Florence. 


HENRY INMAN 
AmERIcAN: 1801—1846 


29—PORTRAIT OF THE ARTISTS FATHER 
Height, 1514 inches; width, 12°4 inches 


A man of bold features and florid complexion, with thick dark hair care- 
lessly brushed, and large eyes directed at the spectator, is portrayed at 
full length, seated in a heavy armchair and facing the right with head 
turned almost full to the front. He is smooth shaven, with the choker 
collar and large black cravat of his day, white pleated shirt with large 
pearl pin, gray waistcoat and formal black suit. His hat and stick are 
on a green-covered table beside him, at the foot, of which his dog is 
lying. Background of mahogany-hued drapery, gray pillar and a river 
landscape with sail and steamers. 

Inman’s father was an Englishman, and he and his wife were among the first 
settlers of Utica, New York, where the son was born. The father encouraged the 


son in his leaning toward art, and in 1812 the family moved to New York and the 
son pursued his studies. 


UNKNOWN 


Earty AMERICAN ScHOOL 


30—BISHOP G. W. DOANE (1799-1859) 
(Panel) 
Height, 11 inches; width, 7 inches 


Hatr-LenetH, with the hands included; figure slightly to the right and 
face almost fully to the front. The distinguished Churchman appears 
a man of intellectual features and thoughtful expression, and penetrat- 
ing but kindly eyes. He is beardless, and his dark brown hair is 
brushed down in thin and curling strands over his high forehead. He 
wears surplice and bands and a black stole, and holds a prayer-book in 
both hands, a finger of his right hand between the leaves. Brown back- 
ground. (The panel bears on its face, visible when turned to the 
horizontal, to right, an impressed advertisement in large letters and 
figures beneath the pigment: “J. Green, 1815.”) 

Bishop George Washington Doane was born at Trenton, N. J., in 1799, and 
ordained a priest of the Protestant Episcopal Church in 1821. He was elected 
Bishop of New Jersey in 1832, and in 1846 he founded Burlington College, in 
New Jersey. Before his election as Bishop of New Jersey he preached for several 
years in New York City and Boston. His son, George Hobart Doane, who was 
graduated from Burlington College in 1850, became a Roman Catholic five years 
later, was admitted to priesthood in that Church, and afterward was at the Cathedral 


Church in Newark, N. J., and served as Vicar-General. He was made a domestic 
prelate to the Pope and in his later life was known as Monsignor Doane. 


FRANCIS ALEXANDER 
AMERICAN: 1800—1881 


31—M ASTER LORD 


( Panel) 
Height, 184 inches; width, 1614 inches 


Heap and shoulders of a boy, painted as a portrait within an oval 
frame, on the rectilinear panel. He looks out to the right, three-quar- 
ters front, a strong light from the left illumining the right half of his 
face, the left half being in transparent shadow. He has short and very 
light golden hair and rosy cheeks, and wears a wide and fluted white 
collar over a blue coat with metal buttons and a golden-buff waistcoat. 
Dark background within the painted oval frame, which itself is reddish. 


» Francis Alexander was born at Windham, Connecticut, and was at first self- 
taught. In 1820 he came to New York and studied under Alexander Robertson 
and in 1838 went to Rome. Thereafter he was in Boston for a decade, and there 
in 1842 painted Charles Dickens. He died in Florence. “One of his best portraits 
is that of Mrs. Fletcher Webster, in the Boston Museum of Fine Arts.”—Encyclo- 
pedia Britannica. 


JOHN JAMES AUDUBON 
American: 1780—1851 


32—MISS AUDUBON 
Height, 1914 inches; width, 18% inches 


THREE-QUARTER-LENGTH portrait of a child—a blue-eyed little lady 
with rosy cheeks and a mass of wavy blond hair, seated and facing 
squarely to the front, with a conventional background atmospheric 
and colorful. She is in white with bare shoulders and arms, and a red 
sash just under her armpits; and with her left hand she supports an 
informal bouquet of garden flowers. 

This portrait, with the bird canvas by the same great artist-ornithologist, in 
this collection, was obtained from a New Jersey family estate, the two pictures 
having been purchased by members of the family directly from the painter, whose 
renown as the authority on “Birds of America” has obscured in many minds the 


fact that he was also an accomplished artist, even aside from his wonderful draw- 
ings of the birds which so engrossed his interest. 


JOHN JAMES AUDUBON 
AMERICAN: 1780—1851 


33—BIRDS 


Height, 2614, inches; width, 21 inches 


A pair of hawks most carefully and painstakingly studied, both on the 
wing; one headed downward and toward the left, with back and eve to 
the spectator, the other below it and headed leftward with throat and 
underbody and the under-wings in view. They are seen against a tall 
and slender stem of green leaves, resembling (if they are not) the sassa- 
fras,—the whole against a blue and gray sky-background, above a 
foreground of tree-tops, a middle-distance yellow-green valley, and a 
distant ridge of vague blue hills. 

This canvas, with the Portrait of Miss Audubon by the same artist, was obtained 


from a New Jersey family, members of which purchased the two pictures from the 
artist himself—the great ornithologist. 


a 


GILBERT STUART NEWTON 
British Scuoou: 1795—1835 


34—PORTRAIT OF A LADY 
Height, 20 inches; width, 1434 inches 


A youne lady is portrayed with back to the spectator, her face turned 
toward her left shoulder and brought to view slightly more than in 
profile, in a full light. She has large features and a warm complexion, 
and reddish-brown hair, from which ribbons and a kerchief depend to 
a white yoke within her tightly fitting red gown. On a table on which 
her left elbow rests is a blue drapery. Dark interior background with a 
window-view of landscape at the left. 

Gilbert Stuart Newton, who boasted that he was not an American citizen, 
disclaiming American citizenship, was a nephew of Gilbert Stuart; he was born 
in Halifax, where the family had been driven from Boston, and was brought back 


as a boy to Charlestown. Received instruction from his uncle, went to Italy, France 
and England, and painted many Americans in London and Paris. 


WILLIAM J. BANNING 
AmeERIcAN: 1810—1856 
(Born at Lyme, Connecticut) 


35—_SAMUEL WALDO (1783-1861) 
(Panel) 
Height, 2214 inches; width, 17 inches 


Heap and shoulders to left, three-quarters front. The artist appears 
as a young man, with eyes fixed on the observer and an affable smile. 
He is in formal black coat with shawl collar, and displays a con- 
siderable expanse of white shirt-front below his black stock. Black 
hair, bushy and inclined to be curly; high, light forehead and smooth- 
shaven face with rosy color. Dark background. 


Samuel Lovett Waldo, A.N.A., was born in Windham, Connecticut, 1783; went 
to London in 1806, where he joined West and Copley and worked in the Royal 
Academy; returned to America in 1809, living in New York City until his death 
in 1861. 


it 


JOHN BLAKE WHITE 
AMERICAN: 1782-1859 


36—GEN. MARION IN HIS SWAMP ENCAMP- 
MENT, INVITING A BRITISH OFFICER 
TO DINNER 


Height, 1814 inches; length, 2414 inches 


In an open space along the edge of a dense wood the two officers are 
seen in the foreground, Gen. Marion extending to the Briton an invita- 
tion to partake of a meal which a negro cook is preparing over a small 
fire, beside a low board table set up on crotched branches ¢ut from a 
tree. Behind the officers a sorrel horse rubs its nose on the boards, 
and various men of the general’s following are standing around or 
reclining on the grass. Others are seen on the far side of a stream, 
which two horsemen are elsewhere fording. The officers are both in 
buff breeches, with their scarlet and blue coats in contrast. 


General Francis Marion (1732-1795) was a South Carolinian of Huguenot 
descent, famous in Revolutionary times, first as the head of irregular troops usu- 
ally numbering twenty to seventy men, afterward as commander of the State 
militia. Lieut.-Col. Banastre Tarleton was sent out by the British to capture the 
“Swamp Fox,” but Marion eluded him. The British officer in the picture resembles 
Tarleton, as painted by Sir Joshua Reynolds. Marion had a fine career and received 
the thanks of Congress for the rescue of an American force from the British. He 
was also a State Senator. In August, 1780, he captured one hundred and fifty 
Maryland prisoners and a score of the British guard, and later larger bodies of 
Loyalists or British Regulars. The picture may perhaps represent one of these 
occasions. 

John Blake White was born in South Carolina in 1782. He was a pupil of 
West in London. He was an author as well as an artist, and was a member and 
a director of the South Carolina Academy of Fine Arts. 


Engraved by J. N. Gimbrede for “Godey’s Magazine,” “by permission 
of the Society of Art Union.” 


COL. HENRY SARGENT 
AMERICAN: 1770—1845 


37—_SARAH ANNE ST. JOHN (1794-1867) 
Height, 2414 inches; width, 1814 inches 


SEEN nearly at half-length, seated, a young woman of rosy cheeks 
and dark blue eyes looks out at the observer from a gray wool cap, 
bell-shaped and rakishly worn, which conceals her ears and reveals 
chestnut curls which straggle down to her eyebrows. She was twenty- 
one years old when the portrait was painted, at Hingham, Massa- 
chusetts, in 1815, She looks directly at the spectator, with figure 
to right, three-quarters front, and is wearing a purplish-gray out- 
door wrap with shawl-colar and high belt, disclosing a plaited white 
waist with flaring white collar. Dark neutral background of brownish 
tone. 


Sarah Anne (Tilton) St. John, wife of Charles Cook St. John of New Canaan, 
Connecticut, and Westchester, New York, was born at New Canaan in 1794 and 
died in New York City in 1867, when the portrait passed to her granddaughter 
Sarah Ward St. John, daughter of Mrs. St. John’s eldest son Augustus E. St. John. 
Augustus E. St. John died in 1858. Sarah Ward St. John, who was born in 1849, 
married Augustus C. Sarles, and died childless in 1902. She gave the portrait to 
her friend Mrs. Helen Reade Hammersley Stickney, from whose estate it was 
acquired by the late owner. A paster on the stretcher, reading “Sarah Anne St. 
John, Jany. 31st, 1815,” is marked “Her autograph: M. St. John;” also, “This was 
painted at Hingham, Mass., by Col. Henry Sargent; M. St. John”—inferentially, 
Mrs. Martha Laurina (Ward) St. John (1820-1900), mother of Sarah Ward St. John. 

Col. Henry Sargent of Boston was a pupil of Gilbert Stuart, a member of the 
American Academy of Fine Arts, and was an officer in the War of 1812. 


ETHAN ALLEN GREENWOOD 
AMERICAN: 1779—1856 


38—PORTRAIT OF AN UNIDENTIFIED MAN 
(Panel) 
Height, 26 inches; width, 1914 inches 


Busr portrait, nearly elbow length, of a man beyond middle age, with 
short gray side-whiskers and gray wig, facing the left, three-quarters 
front. His high brow is seamed and his jowls are heavy. His some- 
what swarthy and lined but genial face is in the light against a black 
background, with a dark garnet drapery on the left, and he looks 
contemplatively at the observer. Black coat with high-rolled collar, 
and white stock and jabot. 


Signed at the lower left, GREENWOOD, PINxT., C. 1815. 


This canvas, which had come down as a likeness of “a former Mayor of Boston,” 
was at one time supposed to be a portrait of John Phillips, first Mayor of Boston. 
But as Mr. Phillips, who died in office May 29, 1823, was born in 1770 and would 
have been but forty-five years old at the date of the portrait, and is described as 
having been always of delicate physique, that identification was manifestly erroneous; 
furthermore it conflicts with the portrait of Phillips in Windsor’s “Memorial History 
of Boston” (Vol. III, p. 223). 

Ethan Allen Greenwood, born in Massachusetts in 1779, painted portraits as 
early as 1803; he studied with Edward Savage, and in later life succeeded Savage as 
owner of the New England Museum, which became the Boston Museum. He died 
in 1856. 


OLIVER FRAZER 
AMERICAN: 1808—1864 


(Buiue Grass Scuoot or Kentucky) 


39—PORTRAIT OF A LADY 
Height, 25 inches; width, 2014 inches 


A HANDSOME and mature young woman of agreeable countenance, with 
rosy cheeks and dark chestnut hair; seated facing the observer, turned 
slightly toward the left. She wears a voluminous white lace cap, and 
pink roses with sprigs of leaves in front of her hidden ears, from 
which gold earrings depend. Dark green gown cut low beneath an 
ornate white lace fichu which is crossed and pinned with a brooch. 
Jeweled necklace, and gold watch with a bead-chain encircling her 
shoulders. Dark background. 


(Companion portrait to No. 40) 


Oliver Frazer was born in Kentucky in 1808; his father was a native of Ireland. 
He studied under Jouett in Kentucky, and under Sully in Philadelphia, and in 
1834 under the American G, P. A. Healy in Paris. He painted a portrait of Edwin 
Forrest. 


b: 


OLIVER FRAZER 
AMERICAN: 1808—1864 


(Buivur Grass Scuoot or Kentucky) 


40—PORTRAIT OF A MAN 
Height, 251% wmches; width, 201% inches 


Haur-Lenctu, facing front with very slight turn towards left. A 
smooth-shaven man of affable countenance, grayish-blue penetrating 
eyes, and bushy light brown hair which is possibly grayish. In black 
with black stock, watch chain encircling his neck, and plaited and 
studded shirt. Dark neutral background. 


(Companion portrait to No. 39) 


JAMES FROTHINGHAM 
AMERICAN: 1781—1864 


41—-M RS. PHINIAS CARLTON 
( Panel ) 
Height, 271 wmches; width, 21 inches 


Haur-Lenecru, not including hands, to left with face three-quarters 
front. A mature woman with the lines of early comeliness in her 
features, dark brown eyes, and lips lightly parted. White cap with 
lace frill, and white neckerchief, which in front is tucked within her 
dark red and loosely-fitting waist. Dark olive-brown background. 


BASS OTIS 
AMERICAN: 1784—1861 


42—"MRS. NICOLSON” 
(Oval) 


Height, 27 inches; width, 22 inches 


Busr portrait of a smiling young woman, to left, three-quarters front, 
in a dark green gown, against a dark brown and blackish background. 
She is blue-eyed, and her hair, a light chestnut-red, is brushed smoothly 
from the centre down about her ears, and wound in a braid at the 
back of her head, a jeweled earring pendent below its rounding folds. 
Her tight bodice is cut low and edged with white lace, and a black neck- 
ribbon is crossed and pinned with a jewel. 


Bass Otis was born at Bridgewater, Massachusetts, in 1784; was painting por- 
traits in New York in 1808 and in Philadelphia in 1812; he became President of the 
Pennsylvania Academy, He made the first lithographs in America—published in 
the Analectic Magazine in July, 1819. 


UNKNOWN 


Earty AMERICAN ScHoon 


43—OLD LADY IN A WHITE CAP 


Height, 27 inches; width, 22 inches 


Har-LeNcrH seated, facing front and slightly to the right. A woman 
of masculine features, with cold, penetrating eyes and self-contained 
expression, in a brown gown which has more or less merged with the 
dark background. She has dark reddish-brown hair parted at the 
centre, just visible under her white frilled cap which shows a grayish 
bow on top and in the knot beneath her chin, and her forehead and 
cheeks are lined. Face in a strong light from the left. 


BENJAMIN WEST, P.R.A. 
AMERICAN: 1738—1820 


44—A LLEGORICAL 
(Panel) 
Height, 191% wmches; length, 24°24 inches 


A wiInceED male figure, nude with a rose drapery, torch bearer of light 
and inspiration, descends among clouds upon young women personi- 
fying the arts—Painting, Sculpture, Architecture and Music—on the 
right, while amorini with scrolls approach in numbers; on the left, 
Science is represented. All told the figures are a score and one, in 
warm flesh tints and draperies of soft colors. (Panel rectilinear; 
the painting is oval.) 


A companion-piece on cardboard in the Rhode Island School of Design, 
Providence, and sketch in the British Museum. 


ATTRIBUTED TO 


JOHN WOOLASTON 
AMERICAN: (Circa) 1760 


45—-MARTHA WASHINGTON 
Height, 27 inches; width, 22 inches 


Tue First Lady of the Land is presented at full-length, stepping 
forward and toward the left and looking toward the spectator, her 
right arm brought across her breast and catching up a white scarf 
that falls back of her shoulders. She is in a white silk décolleté gown 
with elbow sleeves of flowing lace, a blue bow at the corsage, and a 
mahogany-colored overdress, and is bare-headed, her hair banded with 
briliants. Landscape background with a corner pillar of the Mount 
Vernon portico, and trees, on the right, and the Potomac in the dis- 
tance on the left. 

John Woolaston painted in Philadelphia in 1758 and subsequently, and painted 


many portraits which have been attributed to his father, John Woolaston, Sr., an 
Englishman who came to the Colonies in 1772 and painted in Maryland and Virginia. 


JOHN MASON FURNESS 
AMERICAN: —1809 


46—JOHN VINAL: “MASTER VINAL’” (1736-18238 ) 
(Panel) 
Height, 2814 inches; width, 2234 inches 


SEATED in a red-frame chair, over the back of which his left arm is 
thrown, the old Boston schoolmaster is portrayed nearly at half-length, 
a quill which is held in his right hand entering the picture, though 
the hand itself is not included. He is facing the spectator, turned 
slightly to the right, and wears an expression of rather ostentatious 
if not exaggerated dignity. His white hair falls loosely over his 
forehead, and long at the back. An unbuttoned white waistcoat with 
red embroidery discloses a white jabot and stock; his opened coat is of 
dark green. Blackish background. 


John Vinal, long a schoolmaster in Boston, noted for his penmanship and 
mathematics; author of “Vinal’s Arithmetic” (a copy in the Boston Public Library) ; 
married in 1760 Ruth Osborne of Charlestown, whose portrait Copley painted; 
in 1796 bought a home on Beacon street, next the Copley house. 

The date of John Furness’s birth has not been established; he died at 16 Federal 
street, Boston, in 1809. In 1777 the engraver and silversmith Nathaniel Hurd, 
whose sister he had married, left by will his tools to Furness “owing to the genius 
he discovers for the business.” An advertisement he published in the Columbian 
Sentinel, of Boston, in 1785, contains not only a note of interest of the time but a 
ring of today: “John Mason Furness begs leave to inform his friends and the publick 
that he has taken a commodious chamber . . . formerly improved by Mr. Smibert and 
lately by Mr. King, limners, where he executes portrait painting in oil and water 
colours * * * and as he is a native of Boston he hopes for the same encouragement 
that is given to Foreigners, provided his Paintings are as well executed.” 


HENRIETTA JOHNSON 


AMERICAN: —1728 


47—LADY JOHNSON, 
WIFE OF SIR NATHANIEL JOHNSON 


Height, 2734 inches; width, 2334 inches 


THREE-QUARTER length, seated, to left, three-quarters front. A 
young but mature woman, rounded and fair, with quizzical eyes and 
the suggestion of a smile; warm lips and a hint of rose in her cheeks, 
and elaborate coiffure. She is in a gown of soft red, with tight waist 
and flowing sleeves, the low corsage lace-edged and pinned with 
brooches, and she wears a pearl necklace and pearl ear-pendants. 
Dark background with a light exposure of conventional landscape at 
the left. 
(Companion portrait to No. 48) 


Lady Johnson while on her way to Europe was captured by the French and 
died after a year’s imprisonment. 


HENRIETTA JOHNSON 
AMERICAN: —1728 


48—GOV ERNOR SIR NATHANIEL JOHNSON 
(1644-1712) 


Height, 28 inches; width, 24 inches 


Har-Lenctu seated, shoulders slightly to right and head to left, with 
face three-quarters front and eyes on the spectator. He wears a huge 
gray-brown periwig and a thin but long and curling gray moustache, 
and is shown as in dress armor with rivets and joint-bands of the 
plates gilded; over this the long ends of his loosely-tied white lace 
neck-cloth hang before his chest, reaching to his right hand which is 
brought before his breast, resting on the head of a sword or baton. 
Dark neutral background. At right of his head: “Aetatis 61; Aprill 
7th., 1705.” At upper left, coat-of-arms with motto (in English) 
“Loyalty; not Interest.” 


(Companion portrait to No, 47) 


Illustrated in Charles Knowles Bolton’s “Portraits of the Founders”; also in 


Alice Morse Earle’s “Two Centuries of Costume in America.” 
Nathaniel Johnson was born in England in 1644, entered the army and then 


Parliament; was knighted in 1680; in 1683 had a warrant for 560 acres in Carolina; 
1686, was Governor of the Leeward Islands; 1702, Governor of South Carolina. 
Died 1712. 

Henrietta Johnson has previously been found as a pastellist as early as 1703, 
in Charleston, S. C.; according to Hart she “considerately signed and dated her 
portraits, as also had her tombstone record her death on March 9, 1728.” 


ANSON DICKINSON 
American: 1780—1847 


49—-PORTRAIT OF A LADY 
Height, 2834 inches; width, 24 inches 


Ha.r-Lenctn, seated, to left, three-quarters front. A woman of ma- 
ture life but with a young face and fair complexion, her sandy-brown 
hair enclosed by a sheer white lace mob cap; a transparent fichu about 
her neck is tucked into her low-cut and loose-fitting mahogany-brown 
or reddish waist, and a light brown shawl falls lightly about her elbows ; 
from beneath it the right hand comes to view. She sits in a green 
wooden chair which is striped with gold, before a neutral dark brownish 
background. 

“This painter is better known for miniatures than for his portraits in oil, and 
this example shows the manner of a painter in little. It is a pleasant portrait, with 
animation and character, and has the suffused pink hue that was notable in all of 


Dickinson’s works, whether on ivory or canvas.”—Cuartes Henry Hart, in catalogue 
of the Thaw Collection. 


From the collection of Mrs. Benjamin Thaw, New York, 1916. 


MATTHEW HARRIS JOUETT 
AMERICAN: 1788—1827 


50—FRANCES BERRYMAN McKINNEY 
(MRS. JAMES G. McKINNEY) 


Height, 2714 inches; width, 22 inches 


Haur-Lencru, to the front, face turned a little to the sitter’s right 
and her eyes directed toward her left, with a somewhat quizzical glance. 
She is young, of creamy complexion, with rosy cheeks, dark hair worn 
in wide-spreading puffs, and is clad in a dark grayish-plum dress with 
small waist and blue-gray belt, and voluminous sleeves. A two-fold and 
plaited lace collar at her neck overlies a broader one tucked and pointed, 
which overspreads her breast and shoulders. Light olive-gray back- 
ground. 

Mrs. James G. McKinney, wife of Major James G. McKinney. 

A portrait of James G. McKinney, by Jouett, is in the collection of Mr. Herbert 
L. Pratt, of New York and Glen Cove, Long Island, and listed in the private cata- 
logue of that collection by Charles Henry Hart, who in a note on Jouett therein says 
of him: “He did not have to learn how to paint—he knew how.” And Hart likens 
Jouett to Athena, “who came forth fully armored from the brain of Jove.” Jouett 


was a Kentuckian, an early master of the trans-Appalachian region. 
For two other portraits by Jouett, see Nos. 51 and 56. © 


From William Macbeth, who purchased the portrait from Mrs. M. H. 
Berryman, of Louisville, Kentucky. 


MATTHEW HARRIS JOUETT 
1827 


AMERICAN: 1788 


51—_ JOHN G. McKINNEY, JK. 
Height, 29% inches; width, 24, mches 


THREE-QUARTER-LENGTH standing figure of a youth with gray-blue 
eyes and dark curly hair, to left, three-quarters front, his right hand 
resting on the head of a brown hound with gray muzzle which looks up 
at its small master. The lad looks quietly but fixedly toward the specta- 
tor. He is in a dark greenish-blue jacket with gilt buttons, trousers to 
match, and a cream-colored dress-waistcoat, and wears a broad white 
shoulder-collar and loosely tied black cravat. Conventional back- 
ground. 


A different handling from that of the portrait of Mrs. James G. McKinney by 
the same artist (No. 50). A third portrait by Jouett appears in the collection, No. 56. 


FRANCIS ALEXANDER 
1800—1881 


52—PORTRAIT OF A LADY 
Height, 2934 inches; width, 23%4 imches 


A prim young woman of somewhat sharp features, and pink and white 
complexion, with blue eyes, is portrayed at three-quarter length, to 
right, three-quarters front. Her brown hair in formal dress is seen 
below her white lace cap which has a ruffled edging. She is in gray, 
with a broad white lace collar which overspreads a scarlet cape or 
shawl, and she wears white gloves and is seen against a neutral grayish 
background. 


Exhibited at the Worcester Art Museum. 


BE REE S SONI E IN REO 


WILLIAM DUNLAP, N.A. 
AMERICAN: 1766—1839 


583—CAPTAIN WATSON 
Height, 30 inches; width, 24 inches 


A YouNGIsH man rotund of face and figure, with smooth and smiling 
rosy face and twinkling eye, and abundant loose and curly hair parted 
at the centre, is observed at half-length, facing the observer. He is 
seated, in a wooden side-chair, with left arm thrown over the chair-back. 
Black coat and creamy waistcoat, revealing a soft white shirt and a 
broad blue scarf with a gold chain-pin. Warm brown background, 
with a drawn crimson drapery disclosing a glimpse of shipping—either 
through a window or in a painting. 


Perhaps Captain Thomas Watson, of the “Betsy,” in which Dunlap went to 
England in 1784? 


HENRY BENBRIDGE 
AMERICAN: 1744—1812 


54—PORTRAIT OF A MAN 
Height, 30 inches; width, 25 inches 


Haxr-LeNGTH, including the right hand tucked into the loosened waist- 
coat; facing left but turned well to the front. A youngish man of 
florid complexion, with blue eyes and dark eyebrows, smooth face, and 
dark brown hair and peruke. Elaborate apparel, both coat and waist- 
coat of dark bluish-green adorned with gold braid, bars and buttons; 
white collar turned down over a white stock, and white jabot. Neutral 
background of warm brown. 


Benbridge, though comparatively little known today, in what was truly a galaxy 
ot early American painters was so clever a limner that his works have often and 
long masqueraded as Copley’s. And through no great stretch of the imagination he 
links up Stuart England with independent America; for Dr. Johnson was “touched 
for the king’s evil” by Queen Anne, last of the Stuart sovereigns, Boswell the doc- 
tor’s biographer praises highly a work of Benbridge’s executed in Europe, and 
Benbridge died in 1812—a date inseparably uniting the histories of England and 
the United States. Benbridge was born in Philadelphia in 1744; his father died 
when the boy was seven years old, and his mother married Thomas Gordon, a man of 
wealth; the boy went early to Italy, and in 1768 was sent to Corsica on the order of 
James Boswell of Auchinleck to paint General Paoli; his portrait was exhibited 
in England in 1769, and mezzotints of it were published in which the artist’s name 
is printed “Bembridge.” He also painted Franklin, and on his return to Philadelphia 
was electedsa member of the American Philosophical Society, at the time a distinct 
national honor. 


BASS OTIS 
AMERICAN: 1784—1861 


55—J AMES MADISON (1751-1836), 
Fourth President of the United States (1809-1817) 


Height, 29 inches; width, 23 mches * 


Suort half-length, to right, three-quarters front; seated in a red- 
backed chair before a dark red portiére, in a library. The President is 
presented as a man of composure, and of dignity which sits lightly 
upon him, looking at the observer. He is in a black coat, with white 
neck-cloth and jabot, and a gray wig. 

That the canvas was at one time erroneously attributed to Stuart—for no mant- 


fest reason—seems to be indicated by a paster on the frame, which reads: “President 
Madison, by Gilbert Stuart; from the estate of Gen’l Sinclair of Phila.” 


MATTHEW HARRIS JOUERTT 


AMERICAN: 1788—1827 


56-—DOCTOR WILLIAM §. WALLER 
OF KENTUCKY 


Hei At, ~PRT, inches: width, 245 . inches 
g 8 1s 


Haur-.eneru, without the hands, seated, to right, three-quarters 
front; an intellectual looking man in the prime of life, with blue eyes 
and fresh complexion, and bushy reddish-brown hair and side-whiskers. 
He wears a blue-black coat with flat brass buttons, white stock and 
jabot and choker-wing collar, and he sits in a reddish leather-covered | 
chair before a background of deep olive. | 


Kor other portraits by Jouett, see Nos, 50 and 31, 


EZRA AMES 
AMERICAN: 1768—1836 


57—N. ALLEN, ESQ. 
Height, 30 inches; width, 24 inches 


Portrait of a smooth-shaven stout man with short curly side whiskers 
of sandy hue and dark sandy hair, seated in a carved and red-uphols- 
tered armchair, facing front and toward the right. He is in a dark 
brownish coat and light cream-colored waistcoat, with loose white stock 
and jabot. Light olive-gray and warm dark brown background. 

Ezra Ames was born in Albany, New York, and came to distinction in 1812 by 
exhibiting at the Pennsylvania Academy a portrait of Governor Clinton of New 


York. He painted many members of the New York State Legislature, and these 
portraits are widely scattered in this state. 


MATHER BROWN 
AMERICAN: 1761—1831 


58—PORTRAIT OF A MAN 
Height, 30 inches; width, 25 inches 


A FULL-CHESTED man with a single button of his gray-black and high- 
collared coat buttoned below his chest, his bluish-gray waistcoat un- 
buttoned to display a white fluted jabot, above which a white stock is 
tied, is depicted at half-length, seated. He faces right and the front, 
with gray-blue eyes upon the observer, and his dark and bushy hair is 
in orderly disarray, above tufts of curly and brownish side-whiskers. 
Olive-gray background with a looped portiére of crimson brocade. 


Signed at right, below centre, M. Brown. 


UNKNOWN 


59 MADAME ABIEL FITCH, WIFE OF 
HON. THOMAS FITCH OF BOSTON 
(Oval) 


Vertical diameter, 3015 inches; horizontal, 26 inches 


Ha¥F-LENGTH, seated, facing the front, bust slightly to right, head to 
left with the eyes directed markedly to the right. A middle-aged 
woman with blond hair worn high, in a dark green velvet bodice, 
décolleté, corsage and elbow sleeves frilled in white; over her shoulders 
a mantle of golden-brown. Dark brown background, 

Thomas Fitch was the son of John, who was a steamboat inventor, clock-maker 
and engraver, born in Connecticut in 1748 and died in Kentucky in 1798. 


UNKNOWN 


60—JOHN FITCH, 
SON OF HON. THOMAS FITCH OF BOSTON 


Height, 29°4 inches; width, 2514 inches 


THREE-QUARTER length, standing; figure to right, face almost full to 
the front. A handsome youth, of gracious dignity of expression and of 
poise, with red-brown hair worn long and full—with the volume of a 
wig—to his shoulders, a white neck-cloth twisted into a jabot effect, 
and a green velvet coat with brown revers and garnet clasps; full white 
cuffs. Right arm akimbo with hand at hip holding a brown cloak which 
is looped over his left forearm, the left hand resting on the head of a 
brown and white dog which looks up at its master. Dark neutral 
background. 

On back of canvas: “Mr. John Fitch, eldest son of Hon. 

Col. Thomas Fitch of Boston.” 


ELIAB METCALF 
AMERICAN: 1785—1834 


61—PORTRAIT OF A GENTLEMAN 
Height, 30 inches; width, 24 inches 


A GENTLEMAN of youthful middle-age is portrayed seated, half-length 
including the right hand, which holds a letter. He is facing the spec- 
tator, and looks up from reading the letter. He is in an inlaid chair, 
and at his left is a writing table on which are paper, ink and a quill pen. 
He wears a black coat, and white waistcoat, stock and jabot. The 
letter he has received is dated New York, January 1, 1816, and is 
addressed to Mr. E. Metcalf. Olive-brown wall background with crim- 
son curtain drawn back at the right. 


Eliab Metcalf, son of James, was born in Massachusetts in 1785; his family 
occupied the same farm they had had from the time of the Pilgrims’ landing at 
Plymouth. His mother was a relative of Chester Harding’s. He painted first 
miniatures in the Eastern States and Canada, afterward portraits in New York, 
New Orleans and the West Indies. He died in 1884. 


SAMUEL FINLEY BREEZE MORSE, P.N.A. 
American: 1791—1872 


62—““FKFREDERICK VON SLADE” 
Height, 29%4 inches; width, 2514, inches 


Ha.r-Lenctu, seated, front with a slight inclination to left; a man of 
many years, with hair white and eyebrows whitening; warm complexion 
and affable blue eyes; smooth-shaven, with high collar and white stock. 
Black coat and waistcoat, the standing collar of the waistcoat lined 
with scarlet, and a note of the red upholstery of the subject’s chair 
coming to view within his elbow. Dark background. 


The name of the sitter has also been given as “Steele.” Canvas authenticated as 
a work by Morse, by Charles Henry Hart. 


JOHN GREENWOOD 
AMERICAN: 1727%7—1792 


683—WILLIAM LYNDE, ESQ. (1710—) 
Height, 30 inches; width, 25 inches 


HALr-LENGTH, standing, to right, three-quarters front; a portrait of 
a portrait, the subject appearing within an oval frame painted on the 
rectilinear canvas. A man in middle life, with gray hair and curled 
wig, in blue coat and yellowish-olive surcoat with white revers, pleated 
shirt and long white neck-cloth. Olive and brown background. 

John Greenwood was born in Boston in 1727, the son of Samuel; in 1742 he 
was apprenticed to Thomas Johnston, a Boston engraver. His American portraits 
were all painted before 1752, as he went then to Surinam where he spent the next 


ten years; afterward to Paris, and to England where he settled as a mezzotint 
engraver and died. 


CHARLES BRIDGES 


AMERICAN: Circa 1740 


64—PORTRAIT OF A LADY 
Height, 48 inches; width, 38 inches 


THREE-QUARTER length, in full face. In a low-cut dark blue dress with 
short sleeves. The left arm resting on a pedestal. 


__ Charles Bridges is recorded as painting portraits in Virginia between 1735 and 
1750. One later critic has said that Bridges was painting good portraits in Vir- 
ginia in 1735. Most of his portraits of women displayed a curl brought forward 
over one shoulder. 


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UNIDENTIF 
Eagny American 


63—PORTRAIT OF 4 MAN ; 


Tunez-<uinigneeg eee hree- 
the prime of life, full of vigor, robust ; brown e 
a high light on his brow; smooth-shaven, ay bu x 
extending from his dark brown and carel 
double-breasted coat with large gilt butte 


stock. A bit of the red upholstery of his 
his elbow, Neutral brownish hockground:; 


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ATTRIBUTED TO 
HOGARTH 


66—A CONVERSATION PIECE 
Height, 30 inches; width, 25 inches 


Two small full-length figures, standing. On the left is a man wearing 
a court dress of blue and gray-brown, and silk stockings. On the 
right, a lady in white dress, a dog nearby. Brown curtain background. 


JOHN RUSSELL, R.A. 
Encuisu: 1744—1806 


67—PORTRAIT OF A GIRL WITH A ROSE 
Height, 2714 inches; width, 211% inches 


Smaux full-length figure. In a white dress with blue sash and red 
shoes. She is seated on a bank under a tree; and holds up a rose in her 
right hand and a lily of the valley in her left. Flowers in a basket at 
her side. 


JOSEPH KYLE, A\Nes 
AMERICAN: 1815—1863 


72—PORTRAIT GROUP 
Height, 3614 inches; width, 28 inches 


A FAMILY group of five figures, in an interior of shadowy depths, the 
figures in a soft light. coming from the left and in mellow colors. A 
man with a high and broad forehead, in a great-coat with deep collar, 
stands beside a table from which he is about to take his beaver hat, a 
little girl clinging to him to delay his departure; he facing the left, she 
the right. Before them a young woman in a golden-buff gown and 
grayish fichu is seated, to right, three-quarters front, with face in 
profile, looking at the man. An infant girl stands at her knee, and 
another small girl, half-kneeling, near by, holds up a nosegay from a 
basket of flowers. 


On stretcher a paster, “Original painting by Joseph Kyle, 
LSC 


Joseph Kyle was born in Ohio and in his childhood lived in Ohio and Kentucky. 
At twenty he entered Sully’s studio in Philadelphia and later studied with Bass 
Otis. He painted both in Philadelphia and New York, both portraits and historical 
compositions, and is represented in the Metropolitan Museum of Art by a “Portrait 
of a Lady”—1861. 


Exhibited at the Panama-Pacific Exhibition, San Francisco, 1915. 


HENRY WILLIAMS 
AMERICAN: 1787—1830 


73—PORTRAIT OF AN OLD LADY 
Height, 3614 inches; width, 2914 inches 


THREE-QUARTER length, to left, three-quarters front. An old lady of 
deeply lined face, with keen brown eyes looking at the observer, sits 
bolt upright in a heavily cushioned armchair of deep crimson. She has 
looked up from an opened book on a green-covered table before her, her 
right hand turning a leaf, and she holds her spectacles in her left hand. 
She is in a black velvet gown of loose folds, and wears a white frilled 
cap, a white neckerchief, and a bluish shawl about her shoulders, the 
shawl embroidered in black. Dark olive background. 

Henry Williams was an artist of Massachusetts, where his portraits are mainly 


found, and in the works of his later years showed that he had been influenced by 
Stuart. 


From the collection of Mrs. Benjamin Thaw, New York, 1916. 


f 


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POs 


SIR PETER LELY 
EwncuisH: 1618—1680 


74—PORTRAIT OF A YOUNG LADY 

Height, 32 inches; width, 25 inches 
THRrEE-QUARTER length; three-quarters to the right. In a dark green, 
low-cut dress, with full sleeves lined with white, a small black bow at the 
breast. Her hands before her, one pressing against the palm of the 


other. Her hair falls in ringlets on to her forehead and on her 
shoulders. Pearl necklace. 


In the C. Bertrand collection, Paris. 


Purchased from Messrs. Scott and Fowles, New York. 


JAMES NORTHCOTE, R.A. 
EncusH: 1746—1831 


75—PORTRAIT OF THE ARTIST 
Height, 31 inches; width, 251% inches 


Haur-LencTH, in profile to the left. In black coat and white cravat, 
he is seated in a high-backed chair before an easel. A brush in his right 
hand, his palette and other brushes in his left. 

O’Donoghue, “Engraved British Portraits in British Museum,” Vol. III, p. 348, 


mentions a large number of engravings after portraits of Northcote by Dance. 
Harlow, Hoare, Lonsdale, Opie, Wivell and Northcote. 


BENJAMIN WEST, P.R.A. 
AmERICAN: 1738—1820 


76—THE HOLY SPIRIT DESCENDING 
UPON CHRIST AFTER HIS BAPTISM 


Height, 3614 inches; width, 28 inches 


Tur Christ appears at full length, walking toward the right, His face 
in profile, the Holy Spirit in form of a haloed dove descending from 
the clouds over his head. ‘To left and right on the ground about him 
adoring figures male and female, old and young, to the number of above 
a dozen, variously clad and partly nude. In the background, beyond 
the river, nude figures on the farther bank, and distant green hills. A 
mellow golden tone over all. 


THOMAS BIRCH, N.A. 
(Honorary Member, elected 1833) 
American: 1779—1851 


77—_THE SHIPWRECK 
Height, 22 inches ; length, 30 inches 


Orr a rocky coast which appears under gray clouds of a passing storm 
on the right, and in a heaving sea which breaks over outstanding rocks 
in the foreground, a ship is seen a-wreck, mizzenmast gone and fore top 
snapped off, canvas ripped and spray bursting over her decks. Her 
crew escaping in their boat are seen in the heavy wash between the hulk 
and the shore, and to left the sky is clearing. 


Thomas Birch, eminent marine painter, born Warwickshire, England, 1779; came 
to Philadelphia, 1794, with his father, William, a distinguished enameller. Became 
infatuated with the sea by a trip down to the Capes of the Delaware, in 1807, and 
devoted himself to marine painting. 


GEORGE D. HART 


AMERICAN: CONTEMPORARY 


78—“OLD IRONSIDES” 
Height, 29 inches; length, 40 inches 


A REPRESENTATION of the United States frigate “Constitution,” ob- 
served broadside-on headed toward the right under full sail, over a 
green and white-capped sea beneath a sky massed with white and creamy 
rolling clouds. At right and left, other sail, and at left a headland 


with light and fortifications. 
Signed at the lower left, Gzo. D. Harr, 1901. 


JOSEPH BADGER 
American: 1707— 


79—CAPTAIN JOHN LARRABEE, 
LIEUTENANT OF CASTLE WILLIAM 


Height, 8214, inches; width, 5114 inches 


Fuit-Ltencru standing figure, facing front and slightly toward the 
right; white wig and stock, grayish plum-colored outer coat, rose- 
lined, and black under coat ; plum-colored breeches and white stockings. 
Sword at his side, he stands before a cannon on which rests the 
head of his long, red-covered spyglass, which he holds upright, sup- 
ported by his left hand while his right hand rests arm akimbo at his 
hip. He is smooth-shaven and of warm complexion, with eyes kindly 
but keen, and expressive of conscious determination rather than of 
natural firmness. In the background to right are ancient men-o’-war 
in the bay and a pinnace under way near at hand, and at the left are 
trees, shrubbery and grasses. 

Exhibited at the Brooklyn Institute of Arts and Sciences, 1917, where the cata- 
logue stated: “The New England Register has a reference to the marriage of Sarah 
Larrabee, daughter of Captain John Larrabee, stationed in Castle William, Boston 
Harbor, 17388.” 

“While Gilbert Stuart’s work is sui generis, there were other painters here who 
painted principally portraits, worthy of serious consideration; and the wide interest 
awakened in the history of art in the colonies has brought to light many names 
heretofore unknown, whose work has been wrongly attributed to other painters who 
happened to be known. Thus, within a couple of years, have been discovered two 
accomplished limners, Nathaniel Emmons and Joseph Badger, both born in New 
England, in 1704 and 1707 respectively.’—Crartes Henry Harr in “Works of Ameri- 
can Artists in Collection of Herbert L. Pratt” (privately printed), 1917. 


SECOND AND LAST EVENING’S SALE 


FRIDAY, APRIL 23, 1920 


IN THE GRAND BALLROOM OF 
THE PLAZA 


BEGINNING AT 8.15 O CLOCK 


hy 


SIR DAVID WILKIE, R.A. 
Eneuiso: 1785—1841 


80—-CAMPING GYPSIES 
(Panel) 


Height, 10 inches; width, 7 14, inches 
Two small full-length figures of women, one of whom nurses a child on 
her lap; another child on the ground to the right. 
Unfinished. Signed, and dated 1841. 


It is thus one of his very latest pictures, as the artist died on June Ist of that 
year. 


GEORGE MORLAND 
EncuisH: 1763—1804 


81I—_RURAL GOSSIPS 
Height, 21 inches; length, 261% mches 


Two women, accompanied by a child and a dog, stop to talk on the road 
in front of a cottage in ruin; the high bank on the left is topped with 
trees. In the right foreground three horses are near a rail. Wide view 
with cottages in the right distance. 


Signed, and dated on a stone on the left, G. Mortanp, 1798. 


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THOMAS WEBSTER, R.A. 
EncusH: 1800—1886 


82—DOTHEBOYS HALL (“SQUEERS’ SCHOOL”) 
(Panel) 
Height, 61% inches; length, 13 inches 


A composiTon of some thirty small figures, mostly schoolboys. Mrs. 
Squeers stands by the desk on the right ; further back is an open door. 

“This admirable specimen of Webster, a perfect gem, representing Mrs. Squeers 
administering the brimstone and treacle to her shuddering victims, while Master 
Wackford struggles with the new boy’s boots, pulling poor Smike’s hair meanwhile, 
and while the meek little owner of the aforesaid boots looks on aghast, enlists one’s 
sympathy and laughter on the instant.”—P. 181. 


Painted expressly for Charles Dickens, the novelist, whose autograph 
ws on the back of the panel. Sold by order of his Executors at 
Christie’s in 1870. 


Exhibited at the Royal Academy, 1906, No. 43, by Sir Bruce Seton, as 
“Squeers’ School.” 


Redford: “Art Sales,” 1888, p. 181. 


Purchased from A. Ackermann, New York. 


JOHN CROME (OLD CROME) 
EncutsH: 1768—1821 


88—_YARMOUTH BEACH 
Height, 1214 inches; length, 18% inches 


FisHerFoLk with baskets and two horses are seen at low tide, a man 
with a telescope looking out to sea. Buildings on the shore on the right. 
Sailing vessels in the left distance. 


W. F. Dickes, “Norwich School,” 1905, p. 129, describes the “Yarmouth Beach,” 
“looking towards the old Jetty,” that was in the Humphrey Roberts Collection. 


In the collection of Major Oswald Collinson. 


Purchased from Arthur Tooth & Sons, London. 


JOHN CONSTABLE, R.A. 
EncuisH: 1776—1837 


84—A LANDSCAPE: SUN AND SHOWER 


A sxetcu of about 1825. Calm water in the foreground with farm 
buildings on the right. Other buildings in the distance, and trees on 
the left. The sky cloudy after the thunderstorm. 


In the collection of Miss Isabel and in that of Miss Elizabeth Constable, 
and so described on the back. } 


In the Ashmead Bartlet Sale at Christie’s. 


THOMAS GAINSBOROUGH, R.A. 
EneuisH: 1727—1788 


85—A LANDSCAPE 
Height, 24 inches; length, 29 inches 
A MAN, with his dog, stands on the road near a high bank to the right ; 


two cows are on the left near a large withered tree. A windmill in 
the distance. 


Bought from Arthur Tooth & Sons, London. 


JOHN CROME (OLD CROME) 
EncusH: 1768—1821 


86—_THE MILL 
Height, 29 inches; width, 25 inches 
A MAN, In a red coat, is standing in a punt before a high-gabled house, 


the shadows of which are reflected in the sluggish water. Trees in the 
distance. 


Bought from Arthur Tooth & Sons, London. 


SIR JOSHUA REYNOLDS, P.R.A. 


EncusuH: 1723—1792 


87—A ROMANTIC WOODY LANDSCAPE 


Height, 29 inches; width, 28 inches 


Trees in full foliage, with a stream flowing through the middle distance. 
Hills beyond, and a blue sky towards sunset. 


Said to have been the property of Mary Palmer, Reynolds’s niece, who 
became Marchioness of Thomond. Sold after her death at Chris- 
tie’s in 1821 as ““A Woody Landscape, one of the few performances 
in this line.” 


In the Rogers sale, 1856, No. 604, where it was described as “A Ro- 
mantic Landscape intersected by a stream of water, a highly 
poetical work, in the manner of Titian.” In the Wynn Ellis Sale, 
May 6, 1876, and in that of H. de Zoete, May 8, 1885. It was 
subsequently acquired by Sir James Knowles. 


Ewhibited at the Royal Academy, 1886, No. 42, and m 1903, No. 7. 
Redford: “Art Sales,” 1888, p. 104. : 
Graves & Cronin: “Works of Reynolds,” 1899, Vol. III, p. 1234. — 


JOHN CONSTABLE, R.A. 
EneusH: 1776—1837 


88H LATFORD LOCK 
Height, 27 wmches; length, 36 inches 


/ 


A BARGE is passing through the Lock, near trees, on the right. On 
the bank on the left is a man on the back of a barge-horse. A church 
tower in the distance. 


C. J. Holmes: “Constable,” 1902, p. 247, claiming that this picture was painted 
about 1825, alludes to “The Lock” in the Diploma Gallery at Burlington House. He 
adds that “Constable speaks in a letter of being engaged on two pictures of ‘A 
Lock’ during this year. Lady Tate has a smaller variant of the subject which has 
been excellently mezzotinted by Frank Short.” 

From the Tate Collection it passed to Vicars Brothers, to whom on July 7, 1914, 
Sir Frank Short, P.R.E., wrote: “The picture of Flatford Lock by Constable now in 
your possession is the one from which I made my mezzotint engraving in 1889. It 
was at that time in the collection of the late Sir Henry Tate.” 


uti ae 


WILLAM HOGARTH 
EneuisH: 1697—1764 


89—_MISS PERT: A CONVERSATION PIECE 
Height, 22 inches; width, 19 inches = 


Smauu full-length; seated on a bank, the body turned toward the left, 
with the face to the spectator. In a low-cut white satin dress with 
ample skirt, pink corsage, short sleeves, small flat straw hat, pearl 
necklace. Fruit in her hands. 


Said to be one of a series painted by Hogarth 1750-1760. 


The traditional pedigree of this picture is that it was sold by Hogarth 
at auction; was in the collection of Mr. Lane of Hillington (who, 
it will be remembered, owned the “Marriage a la Mode’ series 
now im the National Gallery); was in the collection of Wynn 
Ellis; in that of Kenneth Clark, and subsequently belonged to 
Michael Dreicer. 


SIR HENRY RAEBURN, R.A. 
EncusuH: 1756—1823 


90—PORTRAIT OF MRS. THOMAS LINACRE 
Height, 24 inches; width, 201% inches 

Bust, three-quarters to the right. In a white dress and a white cap 

tied with black bows under the chin. 

In the collection of Lord Ronald Gower. 


Purchased from Messrs. Shepherd Bros., London. 


RNR NN 
Se EE 


FRIAR RAT APRS 


SIR HENRY RAEBURN, R.A. 
Encusu: 1756—1823 | 


91—PORTRAIT OF THE 
REV. DR FRANCIS NICOL 


Height, 30 inches; width, 25 inches 


Bust, three-quarters to the right. A middle-aged man, with ruddy 
complexion. In a brown coat, white cravat, and wig. 


Dr. Nicol was Principal of the United College of St. Andrews. 
Exhibited at Edinburgh, 1824, and in 1876. 
Exhibited at the Royal Academy, 18838. 
W. Armstrong, “Raeburn,” 19, p. 109: 
Greig: “Raeburn,” 1911, p. 55. 
Bought from the family by Arthur Tooth, London. 


J OHN OPIE, RA. 
ENGLISH: 1761—1807 


Ha1r-renern, the body turned toward ne 1] 
spectator. Wide flat cape; mob cap; the 
her over the left. 


FRANCIS COTES, R.A. 


EncusH: 1725—1770 


9838—PORTRAIT OF MISS ANNA WILLIAMS 
Height, 24 inches; width, 20 inches 


Bust, three-quarters to the right. In a green low-cut dress, and a 
yellow-brown mantle edged with fur. 


Anna, daughter of John Williams of Mold. 


From the collection of Colonel Ridgway, of Sheplegh Court, Devon. 


JOHN OPIE, R.A. 
Eneuisu: 1761—1807 


94—PORTRAIT OF THE EARL OF ORPEN 
Height, 30 inches; width, 25 inches 


Hatr-Lencrn, three-quarters to the left. Middle-aged, and with a florid 
expression, clean shaven, and with gray hair, wearing a black coat and 
a stock. Under a tree. Landscape background. 


JOHN HOPPNER, R.A. 
Encuisyu: 1758—1810 


95—PORTRAIT OF THE COUNTESS OF EUSTON 
Height, 241, inches; width, 2014 inches 


Bust length, three-quarters to the left, looking out at the spectator. 
In a white dress, cut low over the breast. 


Charlotte Maria, second daughter of James, 2nd Earl of Waldegrave, was born 
October 11, 1761; married George, Earl of Euston, who succeeded his father as 4th 
Duke of Grafton. She died February 1, 1808. 

In the collection of the Duke of Grafton, there is a half-length portrait painted 
in 1798, and engraved by C. Wilkin and T. Burke. The miniature of her in the 
Pierpont Morgan Collection (illustrated in G. C. Williamson’s “Catalogue” and as 
“The Countess of Exeter” in the Connoisseur, May, 1907, p. 4) does not seem to be 
by Hoppner, who had neither the training nor the patience for painting portraits. 

This picture is described by W. Roberts: “Hoppner,” Supplement, 1914, p. 16, as 
“lacking the artist’s finishing touches. It represents the Countess at an earlier period 
than 1798 when the engraved portrait was painted, and is more nearly like the 
miniature of her, ascribed to Hoppner, now in the J. Pierpont Morgan Collection.” 

Downman also painted her portrait. 


ao 


SIR THOMAS LAWRENCE, P.R.A. 
EncusHu: 1769—1830 


96—PORTRAIT OF 
THE RT. HON. GEORGE CANNING 


Height, 30 inches; width, 25 inches 


Busr length; full face. In black coat and white cravat. Bald-headed. 
His left elbow on a table and the fingers raised to his cheek. Red 
curtain background. 


This distinguished statesman and orator (1770-1827) as a youth enjoyed the 
friendship of Lord Liverpool. In 1800 he married Joan Scott, sister of the Duke of 
Portland. In 1814 he was appointed Ambassador to Lisbon. He died at the Duke 
of Devonshire’s villa at Chiswick in the room in which Charles James Fox had expired 
twenty-one years earlier. As a parliamentary orator he holds a prominent place in 
British annals. 

Lawrence exhibited portraits of Canning at the Royal Academy in 1825, No. 83, 
and 1826, No. 109. Portraits of him by Lawrence were exhibited by the King and 
by Sir Robert Peel at the British Institution in 1830, No. 56 and No. 90. Another 
was lent by the Corporation of Liverpool to the National Portrait Exhibition, 1868, 
No. 237. Another was lent to Christ Church, Oxford, to the Exhibition of Portraits, 
1906, No. 187. Other portraits were painted by him in 1810 and 1814. Sir Walter 
Armstrong in his “Lawrence,” 1913, p. 119, “lists” seven. Some were engraved by 
W. Say and C. Turner. 

O’Donoghue: “Engraved British Portraits,” Vol. I, p. 333. 


In the collection of Mrs. Cooke of Leybourne, Yorks, from whom it 
was purchased. 


SIR WILLIAM BEECHEY, R.A. 
EncuisuH: 1753—1839 


97—PORTRAIT OF A NAVAL OFFICER 
Height, 30 inches; width, 25 inches 
Har-tenetn, three-quarters to the right. Blue uniform with gold 


buttons, white vest and cravat and black cocked hat. Resting his right 
arm against a table, the hand grasping his sword below the hilt. 


Purchased from Scott & Fowles, New York. 


FRANCIS COTES, R.A. 


EncusH: 1725—1770 


98—PORTRAIT OF A LADY 
Height, 301% inches; width, 25 inches 


Haur-Lenctu, in full face. In a pink dress lined with ermine, full 


short sleeves; pearl ornaments. Her hands rest on a parapet before 
her. 


THOMAS GAINSBOROUGH, R.A. 
Enecuiso: 1727—1788 


99—PORTRAIT OF MRS. COCKBURN 
OF ROCHESTER 
Height, 30 inches; width, 25 inches 
Har-Lencrtu, three-quarters to the right. Seated, wearing a low-cut 
dress, necklace and earrings; flowers at her breast. 


Purchased from a direct descendant of the lady. 


GEORGE ROMNEY 
EncusuH: 1734—1802 


100—PORTRAIT OF A MAN IN A RED COAT 
Height, 30 inches; width, 25 inches 


Hatr-Lenctu; three-quarters to the left. In a red buttoned coat, 
white cravat and full wig. He has a florid complexion. 


In the collection of Maurice Kann, sold June 9, 1911, No. 52, p. 57. 
Has been engraved. 
Purchased from Messrs. Cottier & Co., New York. 


ee 


JOHN HOPPNER, R.A. 
EncusuH: 1758—-1810 


101—PORTRAIT OF SIR GEORGE BEAUMONT 
(Oval) 
Height, 29 inches; width, 24 inches 


Bust length, three-quarters to the left. Black coat, with brass buttons, 
white cravat. Florid complexion and curly gray hair. Red curtain, 
withdrawn on the left to show a landscape. 


Sir George Howland Beaumont, Bart., of Stoughton Grange, Co, Leicester; 
born Nov. 6, 1758; succeeded his father in 1762; M.P. for Beeralston, 1790-1796; 
married Margaret Wills, May 6, 1778. Died Feb. 7, 1827. 

Another portrait by Hoppner, engraved by W. Say, J. S. Agar and J. Wright, 
was formerly in the Mulgrave Castle Collection and that of Sir Edward Sassoon. 
Hoppner probably painted several examples of his portrait of Beaumont; one was 
in the Hoppner sale, 1823, No. 27; another in the David Wilkie Sale, April 30, 1842, 
No. 674. Sir Joshua Reynolds and Sir Thomas Lawrence also painted his portrait. 

O’Donoghue: “Engraved British Portraits in British Museum,” I, 148. 

W. Roberts: “Hoppner,” 1909, p. 17. 


In the collection of G. H. S. Glasier, London. 


ee 


* 


SIR JOSHUA REYNOLDS, P.R.A. 
Encusu: 1723—1792 


102—PORTRAIT OF ARCHIBALD BOWER 
Height, 30 inches; width, 25 inches 


Haur-.Lenctu, the eyes to the left. In a gray-black coat, lace cuffs 
and full wig. A folio in his right hand. 


He sat to Reynolds in February, 1757, and June, 1758; this picture was paid 
for before 1760 by Lord Carysfort. In the Anthony Sale at Christie’s, February, 
1871, No. 375, it was bought in. Sold afterward at Foster’s to Henry Graves & Co., 
from whom it passed to Charles William Kraushaar, of New York. 

The life of Archibald Bower (1686-1766), British ecclesiastical historian and 
antiquarian, was a strange one. He left Scotland for Italy as a child, and was 
educated at the Scotch College at Douai and at Rome, where in 1706 he joined the 
order of the Jesuits. Suspicion of heresy having risen against him, he fled to 
England in 1726, where he made public profession of Protestantism. He subse- 
quently withdrew from the Roman Catholic Church. For years he lived on terms 
of intimacy with Lord Aylmer. He became Librarian to Queen Charlotte. 

G. Knapton also painted the portrait of Archibald Bower. 

“This picture I well remember. We bought it at Mr. Anthony’s sale in 1871, 
together with the ‘Mrs. Bower’ which was in the possession of Baron de Bournon- 
ville ten years ago. Both pictures were good specimens of Sir Joshua’s early 
manner, and I believe the ‘Mrs. Bower’ to be the original engraved by J. Faber in 
1755. The picture is recorded in Mr. Reynolds’s books, and the ownership there is 
‘given to yourself.’ ”’—Extract from a letter of Oct. 24, 1910, from Algernon Graves 
to C. W. Kraushaar. 

Leslie and Taylor, “Reynolds,” 1865, I, p. 155; Graves and Cronin, “Works of 
Reynolds,” 1899, Vol. I, p. 106. 

W. Armstrong: “Sir Joshua Reynolds,” 1900, p. 195. 

O’Donoghue: “Engraved British Portraits in British Museum,” Vol. I, p. 220. 


Engraved by J. Faber and by Richard Josey. 
Exhibited at the National Portrait Exhibition, 1867, No. 382. 
Purchased from Mr. C. W. Kraushaar by Mr. Smith in 1912. 


JOHN HOPPNER, R.A. 
Encusu: 1758—1810 


103—PORTRAIT OF MISS HOME | 
(“The Girl with the Kitten”) — 


Height, 30 inches; width, 25 wnches 
Smauu full-length, the body turned toward the left looking out at the q 


spectator. Seated on the ground in a landscape, in a white frock with 
short sleeves. A kitten in her arms, : : 


She was the daughter of Sir Everard Home, Bart. (1756-1832), Ist President — 
of the Royal College of Surgeons. y ¥ 


Sold at Christie’s, July 12, 1912, No. 61. 

In the possession of Asher Werthewer. 

Dictionary of National Biography, 1891, Vol. XXVIL, p. 227. 
W. Roberts: “J. Hoppner,” Supplement, 1914, p. 24. 


SIR THOMAS LAWRENCE, P.R.A. 
Enecusu: 1760—1830 


104A— PORTRAIT OF MARIE CLOTILDE MOTTE 
ET DE LA FONTAINE, LADY RUSSELL 


Height, 30 inches; width, 25 inches 


THREE-QUARTER length, turned three-quarters to the right, looking out 
at the spectator. In white dress, pink wrap and blue sash. Her hands 
raised to her breast. Landscape background. 


She was the daughter of Benoit Motte et de la Fontaine, Baron de Sr. Corneille, 
Seigneur de la Motte et de la Fontaine in Picardy. In 1816 she married, as his 
second wife, Sir Henry Russell, 2nd Bart. of Swallowfield, Yorks, who was for 
many years British resident at the Court of Hyderabad. 


“Dictionary of National Biography,” Vol. 49, p. 428. 
In the collection of Benjamin Faulkner, London. 


Exhibited on loan in the Worcester Musewm, Massachusetts, 1918. 


SIR JOSHUA REYNOLDS, P.R.A. 
Eneutsy: 1'727—1788 


105—PORTRAIT OF MRS. HILLERSDEN 
Height, 30 inches; width, 25 inches 


HaLF-LENGTH, in full front. In a white satin dress with long sleeves ; 
blue cloak trimmed with ermine. A blue band round her neck and one 
in her hair. 

For some time this portrait was tentatively identified with that for which Mrs. 
Hillersden gave sittings to Sir Joshua in December, 1757. (See Leslie and Taylor, 


“Reynolds,” 1865, Vol. I, p. 157; and Graves and Cronin: “Reynolds,” 1899, Vol. II, 
p. 465.) 


From the collection of W. E. Hadden, R.E., of Kent Gardens, Ealing, 
London. The companion portrait of Mr. Hillersden, of Harpen- 
den Heights, Herts, is said to be in private possession at Cleveland, 
Ohio. 


GEORGE ROMNEY 
EncuisH: 1734—1802 


106—PORTRAIT OF MRS. PHIPPS 
Height, 30 inches; width, 25 inches 


THREE-QUARTER length, three-quarters to the left. In green dress 
spotted with white, and white fichu. Large white mob cap, the strings 
tied under her chin. Neutral background. 


Mary, daughter and sole heir of Richard Peckham, of Upper Marden, Sussex, 
married Thomas Phipps, of Heywood, 1742. She died 1793. 
Sittings to Romney were given in March and April, 1780. 


In the collection of the family. 
In the possession of Thomas Agnew & Sons, and M. Knoedler & Co. 
Ward and Roberts: “Romney,” 1904, Vol. IT, p. 123. 


THOMAS HUDSON 
Eneuisu: 1701—1779 


107—PORTRAIT OF A YOUNG WOMAN 
Height, 30 inches; width, 25 inches 
Haur-LencTu slightly to the left. In a low-cut white dress, seen to the 


elbows, with pink insertion. Her hair falls on her shoulders. Painted 
in a feigned oval. 


Exhibited on loan in the Worcester Museum, Massachusetts, 1913. 


SIR GODFREY KNELLER 
EncusH: 1646—1723 


108—PORTRAIT OF MRS. KING 
Height, 30 inches ; width, 25 inches 


Hatr-Lencru, full face. In a blue dress, with short sleeves; a mantle 
over her left shoulder. A bow in her hair. Her name is inscribed on 


the front of the canvas. 

Exhibited at Roy. 

In the collection of the King family, and of Sholto Montgomery Cay. 
Purchased from Messrs. Scott & Fowles. 


SIR PETER LELY 
EncuisH: 1618—1680 


109—PORTRAIT OF BARBARA VILLIERS, 
DUCHESS OF CLEVELAND 


Height, 49 inches; width, 401% inches 


THREE-QUARTER length, three-quarters to the left, seated. In a saffron 
yellow low-cut dress with short sleeves lined with white. Her hair, 
decked with pearls, falls in ringlets on her forehead. The fingers of 
her right hand placed on the left wrist, on which is a bracelet; flowers 
in her left hand. A curtain in the left background; the base of a col- 
umn on the right. 

Barbara Villiers (1641-1709), daughter of William, 2nd Viscount Grandison, 
married, in 1659, the Earl of Castlemaine. Became Countess of Northampton and 


Duchess of Cleveland. She was regarded as “a woman of great beauty, but most 
enormously vicious and ravenous, foolish but imperious.” 


In the collection of Martin Colnaghi, London, and bought at his death 
by Thomas Agnew & Sons. 


Exhibited at the Royal Academy, 1908, No. 184. 


SIR HENRY RAEBURN, R.A., P.R.S.A. 
EncuisH: 1756—1823 


110—PORTRAIT OF JOHN GRAY, OF NEWHOLM 
Height, 50 inches; width, 40 inches 

THREE-QUARTER length; full face. A portly old gentleman, seated; in 

a brown coat, lemon-colored waistcoat, black knee-breeches and _ silk 


stockings. In his left hand he holds a snuff-box. His right hangs over 
the back of the chair. Landscape seen through the window on the left. 


John Gray (1781-1811) was for many years Town Clerk of Edinburgh. 
Painted before 1806. 


In the collection of Major General Cunningham, who for many years 
lent 1t to the Scottish National Gallery. 


Exhibited at Edinburgh, 1876, No. 1138. 

Mezzotinted by G. Dawe, 1806. 

W. R. Andrew: “Raeburn,” 1894, p. 124. 

Sir W. Armstrong: “Raeburn,” 1901, p. 103, plate at p. 52. 

J. Greig: “Raeburn,” 1911, p. 47. 

O’Donoghue: “Engraved Portraits in British Museum,” Vol. IT, p. 375. 


CHARLES BALTHAZAR JULIEN FEVRET 
DE SAINT MEMIN 


FRENCH-AMERICAN: 1770—1852 


111I—TWO PORTRAITS: 
GENERAL AQUILA GILES AND 
ELIZABETH SHIPTON GILES 


(Black and white crayon, on pink ground) 


Height (each), 19 inches; width, 1314 inches 


Boru portraits in profile to left ; that of the General on a cool grayish- 
pink ground, that of his wife on a warm pink ground. Both persons in 
middle age. He is in a military coat with epaulettes, and with jabot and 
wig or peruke. She wears a mass of puffed and curled hair bound with 
double bands of pearls, pearl earrings and necklace, and a plaited 
waist with lace neck frill. 


The portraits are accompanied by a number of letters to and from General 
Aquila Giles, and other manuscripts. 

Gen. Aquila Giles, son of Jacob Giles of Maryland; keeper of military stores; 
taker of First Census; first United States Marshal of New York City; married 
during the Revolutionary War, while on the staff of Gen. St. Clair and a prisoner, 
Elizabeth Shipton, niece of the wife of Col. William Axtell, British commander at 
Flatbush. Both the General and his wife are buried in Trinity Churchyard. Their 
son George Washington Giles, who inherited these drawings, married Elizabeth, 
daughter of Suzanne Murray, of the Murrays of Murray Hill, and William Ogden, 
and the portraits passed to their son William Ogden Giles (born 1829). William 
Ogden Giles married as his second wife, in 1872, Catherine Chambers Darlington, 
from whom the portraits were obtained and sold to Mr. Smith. 

Saint Memin was born in Dijon in 1770, and died there in 1852, after having 
spent the last thirty-five vears of his life as Director of the museum of that city. 
He came to New York at the age of twenty-three and remained here five years, 
until 1798, in which year he was also in New Jersey, going thence to Philadelphia 
and remaining until 1804; the succeeding three years he spent in Baltimore, Annapolis 
and Washington, the following year he was in Virginia, and the next in South 
Carolina. Back in New York in 1810, he sailed for France, returning in 1812 for 
three years, after which he went to his native land for good and two years later 
entered upon the directorship of the Dijon Museum. In New York in 1798 he 
“introduced the_physionotrace, an instrument to trace the human profile with mathe- 
matical accuracy. These life size profiles were drawn on soft pink paper, finished 
in black and white crayon, producing very attractive and life-like portraits. * * * 
Of these portraits Saint Memin took in this country more than eight hundred. * * * 
But for the art of Saint Memin we should be without portraits of many important 
characters whose likenesses he has alone taken.”—CuHartes Henry Harr in the cata- 
logue of the private collection of Mr. Herbert L. Pratt. 


AMERICAN PORTRAITS 


THOMAS SULLY, N.A. 
(Honorary Member, elected 1827) 
American: 1783—1872 


112—DOUBLE PICTURE: 
PORTRAIT OF MISS SULLY AND 
SELF-PORTRAIT OF THE ARTIST 


(On cardboard; circular) 


Diameter, 7 imches 


On one face a half-length sketch-portrait of the artist, by himself, to 
right, three-quarters front, holding a letter or a bit of sketching paper. 
He is in a black coat, wears a white neck-cloth, and the background is 
brown and gray. On the opposite face, “Miss Sully”—a head and 
shoulders portrait of a chubby child with cherubie face and reddish- 
golden hair, against an azure and gray background. 


In a letter dated April 27, 1917, the previous owner of the picture, from whom 
Mr. Smith purchased it, wrote: “The circular painting of the baby’s head by Thos. 
Sully was brought to me several years ago. It is an unusual specimen of Sully’s 
work and well painted. It may interest you to know that when I purchased it it was 
mounted on a cardboard, and on removing the board with the intention of putting 


it on a panel I discovered the sketch, evidently of Sully by himself. It is difficult — 


to say which side of the frame is most interesting.” 


Rom 


HENRY INMAN, N.A. 
AMERICAN: 1801—1846 


11I3—MRS. ELIZABETH OAKES SMITH, 
} née PRINCE (1806-1893) 


Height, 30 inches; width, 25 inches 


Busr portrait—substantially a half-length—of a handsome young 
woman with large eyes of deep blue, and dark hair worn in wavy ring- 
lets to her shoulders; she is facing the left, three-quarters front. She 
wears a mauve waist of light material, drawn to a V at the belt, and 
a white underwaist folded low and exposing a jeweled necklace with 
cross pendant on her breast; a grayish drapery enfolds her shoulders. 
Nebulous background of grayish tones. 

Mrs. Elizabeth Oakes Smith (née Prince) was born in Cumberland, Maine, in 


1806, and about 1840 she and her husband Seba Smith settled in Brooklyn, where 
she was known as a poet and lecturer. Her death occurred in 1893. 


JAMES SHARPLES 
AmeERIcCAN: 1751—1811 


114—PORTRAIT OF A MAN 
(Pastel) 


Height, 9 inches; width, 7 ches 


Bust portrait, to right, with face to the front; a man with white wig, 
neck-cloth and waistcoat, and blue coat, the coat of brilliant but soft 
lapis note, with a grayish velvet collar. He is of bold features, with 
keen eyes and set lips, but withal an expression of genial affability. 
Dark matt background. 


James Sharples was distinctively a pastellist, although he painted also in oils, 
and exhibited both pastel and oil portraits at the Royal Academy in London; he 
sent them there from Cambridge in 1779, Bath in 1782, and London (Soho) in 1783. 
He was born at Bath (England) in 1751; he came to New York from his Soho 
residence (45 Gerrard Street) in 1794, and he died here (at 8 Lispenard Street) — 
February 26, 1811. He did crayon portraits in this country, the prominent persons 
he portrayed including Washington, Hamilton and Jefferson. He went around the 
country in a carriage of his own construction, doing portraits. His will is on file 
in the New York Surrogate’s office. 


JAMES PEALE 
American: 1749—1831 


115—CAPTAIN (?) JAMES CHAMBERS 
(Panel) 
Height, 14 inches; width, 12 inches 


Hatr-tencru portrait of a dignified and distinguished-lookmg man 
with young face and white hair, which in its thriving abundance is 
brushed with “attentive carelessness” in large curling masses. Warm 
complexion ; aquiline nose, fine mouth and large blue eyes. Very slightly 
turned to the left, he looks with frank expression directly at the spec- 
tator. Brilliant dress uniform of blue-black coat with high-standing 
scarlet collar, scarlet revers and gold braid; formal black stock about 
a white one, and white choker collar, Neutral background in light and 
dark tones, 


Signed at the lower right, J. P., 1809. 


James Peale was the youngest brother of Charles Willson Peale and was born 
at Annapolis; died in Philadelphia, 1831, Received instruction from his brother. 
Was noted as a painter of miniatures, and painted miniatures of Washington on 
ivory and on paper, He painted portraits in oils at least as late as 1812. 


nde eo 4 


THOMAS SULLY 
AMERICAN: 1783—1872 


116—SPRINGTIME 
Height, 18 inches; width, 131% inches 


THREE-QUARTER-LENGTH portrait of a hazel-eyed young mother of rosy 
countenance, standing, in outdoor costume, holding in her arms a 
sturdy little girl with the mother’s own eyes and cheeks, and with 
reddish-golden tousled hair. The eyes of both are centred back of 
the observer and to his left. The child is bare-headed, and in blue with 
a white smock. The girlish mother is in pinkish-gray and is partly 
enfolded in a maroon cloak, and she wears a buff-gray felt hat with 
down-rolling brim and a rose-red feather. Earth and sky background. 


On back of canvas: “ ‘Spring time,’ Harper’s Weekly; T S 1866.” (Possibly the 
date is 1865.) 


pans =~ ee 2 


JOHN WESLEY JARVIS 
AMERICAN: 1780—1839 


117—DANIEL DEWEY BARNARD (1797-1861) 
Height, 24 inches; width, 20 inches 


THe distinguished lawyer and legislator appears head and shoulders, 
very slightly turned towards the left, in formal black, with black stock 
and white choker collar, and a single large jeweled stud in his white 
shirt-front. He is smooth-shaven (with closely trimmed side-whiskers), 
of florid complexion, and his black hair is carelessly brushed. Interior 
background of dark olive, with purplish-rose drapery. 


Mr. Barnard was born at Sheffield, Massachusetts, in 1797, the family removing 
early in the succeeding century to New York State, where the subject of the por- 
trait was elected to Congress from Monroe county in 1827. He was at that time 
an attorney. Five years later he moved to Albany and was elected to the State 
Legislature, and in 1838 was again sent to Congress, being twice reelected and refus- 
ing a third nomination. Geneva College gave him the degree LL.D. in 1835 and 
Columbia in 1845. He had traveled in Europe in 1880, and in 1850 President Fill- 
more sent him as Minister to Prussia, where he served for three years. He died 
in Albany. 


ai el 


WILLIAM JAMES HUBARD 
AMERICAN: —1862 


119 JOHN MARSHALL (1755-1835) 
Height, 21 inches; width, 17 inches 


FuLu-Lencru portrait of the famous American jurist, seated in a red- 
upholstered armchair and looking intently at the spectator, his lean 
shanks crossed to his right and his hands separated on his lap. He is 
in black throughout, with short-clothes and loose shoes, and he wears 
a white stock loosely tied. Conventional background of landscape, 
statuary and a dark crimson drapery. 


On back of canvas, in ink, Joon MarsHauy, By Huparp; 
on stretcher, in ink, HusBarp, PINXT. 


John Marshall (1755-1835), in Congress, 1799; Secretary of War, 1800; Secretary 
of State, 1800; Chief Justice of the United States, 1801-1835; President of American 
Colonization Society; Vice President American Bible Society. 

William James Hubard, portrait painter, exhibited at the National Academy of 
Design as early as 1834. He was brought to this country as a boy from England, 
by persons who profited from his ability to cut profiles, and Robert W. Weir per- 
ceiving his talent persuaded him to try oil work. Hubard studied both under Weir 
and Sully, and worked in Philadelphia, New York, Boston and Baltimore, and died 
in the Confederate service at Richmond in 1862. Portraits of Charles Carroll of 
Carrollton and of Henry Clay, by him, are in the collection of the Maryland His- 
torical Society. 


| 


a a he tee ee 


THOMAS SULLY 
AMERICAN: 1783—1872 


1200—‘THE YOUNG POET” 
Height, 24 inches; width, 20 inches 


Aw unfinished portrait of an unidentified young man—the head alone 
probably about completed—called “The Young Poet,” and believed to 
be the start or sketch for a portrait or figure-canvas of a poet or of 
an artist. The head of a dreamy-eyed young man of large but delicate 
features, with long brown hair brushed carelessly smooth over the crown 
and falling in thick disheveled ringlets to his neck. Head to right. 
three-quarters front; shoulders slightly to left; complexion fair and 
warm. He seems to be wearing a stock, almost the color of his hair. 


From the collection of Mrs. Benjamin Thaw, New York, 1916, No. 153. 


RAT e 


COLONEL JOHN TRUMBULL 
American: 1756—18435 


121—_CALEB STRONG, GOVERNOR OF 
MASSACHUSETTS (1745-1819) 


Height, 2414 inches; width, 191% inches 


Bust portrait to right, face three-quarters front; a man of middle age, 
with light eyes and eyebrows, dark hair and thin side-whiskers. Blue- 
black coat and waistcoat, and white neck-cloth. Dark brownish back- 
ground. 


The title as above given is that by which Mr. Smith held the picture, which, 
however, was catalogued as “Portrait of a Man” in the collection of Mrs, Benjamin 
Thaw, whence it came, in 1917. The authenticity of the canvas as by Trumbull is 
not questioned. The identity of the sitter was not established in that catalogue, 
but the possible identification of the subject as Governor Strong was disposed of 
by Charles Henry Hart, writer of the catalogue, to his own satisfaction, as follows: 
“This portrait bears a considerable resemblance to the portrait of Caleb Strong, 
Governor of Massachusetts, when a much older man, but from the period of the 
costume, which is later than Strong’s, cannot be of him at an earlier date. It is 
beautifully drawn, and modeled in Trumbull’s manner of the second decade of the 
last century.” The several prints of portraits of Governor Strong assembled by 
Mr. Smith justify the comparison of likeness; equally, they fail to disturb Mr, Hart’s 
logic. 


ae 


JOHN SINGLETON COPLEY 
AMERICAN: 1737—1815 


122—GAWEN BROWN. (1719-1801) 
Height, 28 inches; width, 22 inches 


Tue early New England clockmaker, who made the clock of the Old 
South Church, Boston, receiving eighty pounds for it in 1774, is por- 
trayed standing, observed at half-length with figure toward the right 
and head turned to look full at the observer. He holds in his left hand 
his gold watch, its domed crystal open and key hanging as pendant to 
its fine looped chain. He is.of warm complexion, with deep gray-blue 
eyes, and his abundant brown hair is brushed smooth over a high fore- 
head, and outward in a curly mass about his ears, which it almost covers 
up. A white stock-jabot stands out above his partly unbuttoned old- 
rose waistcoat, and his green-blue coat with a ruffled flap-collar is open. 
Olive-brown background. Portrait painted in 1763. 


Mr. Brown was the father, by the second of his three wives, Elizabeth Byles, 
of the American portrait painter Mather Brown, who is represented in the collec- 
tion by a Portrait of a Man, No. 58. The son was named for his mother’s father, 
the Rev. Mather Byles. The marriage of Gawen Brown to Elizabeth Byles took 
place exactly three weeks after his first wife’s death in 1760. Copley also painted 
a portrait of Elizabeth Byles Brown in the same year as this one, the year in 
which she died, 1763; both she and Copley at this time were 26 years old. That 
portrait was sold in the Thomas B. Clarke Collection of Early American Portraits. 
New York, January, 1919. 

“Copley’s portrait of Gawen Brown is a rarely fine example of Copley’s best 
American straight portraiture, dignified and simple in pose, earnest in expression, 
and subdued in color; without elaborateness in the drapery; being very like in pose 
and treatment to his self-portrait in New York Historical Society."-—Cuartrs Henry 
Hart. 


Nite 


REMBRANDT PEALE, N.A. 
AMERICAN: 1778—1860 


123—CAPTAIN DENNISON WOOD, NEW YORKER 
Height, 30 inches; width, 24 inches 


As the largest shipowner of his day, this native New Yorker is appro- 
priately presented holding a ship’s glass, which is tucked within his 
left elbow and gripped by his right hand, as he stands facing the left 
with head turned forward—but his clear and keen blue eyes looking far 
back of the spectator. He is seen at half-length, and behind him a 
window in a brown paneled wall looks out upon the breezy, gray-blue 
bay, toward the distant Narrows. A few sail are seen, and the green- 
blue sky is massed with rolling summer clouds. He is in a black coat 
with rolled collar, a white waistcoat and cravat, and his face has a rosy 
outdoor color. His dark hair is curly and tousled, and he wears curly 
side-whiskers, trimmed high. 

Captain Wood was reputed the largest shipowner of his time, and operated 
lines of merchantmen between New York and Havre and Boston and Havre. His 
descendants have continued to live in New York, his native city, and the portrait 


had never been out of New York. It was acquired from his great-great-grandson, 
Ernest Lockwood, who inherited it in direct line. 


JOHN WESLEY JARVIS 
AMERICAN: 1780—1839 


124— PRESIDENT WASHINGTON 


Height, 380 inches; width, 2514 inches 


A porrrair done without a sitting, but signed by the painter. Full- 
length standing, facing the observer, head turned toward the subject’s 
right, and glance somewhat downward and abstract. The First Presi- 
dent is in deep blue—almost black—civalian attire, with black stockings 
and silver shoe buckles, and white stock and jabot and white lace cuffs. 
In his left hand a scroll, right hand resting on a marble writing table. 
He stands within a circular portico, beside a crimson portiére, and 
over a stair balustrade at the left the Capitol appears in the distance, 
beneath a sunset sky. 


Signed on the table, J. W. Jarvis. 


JEREMIAH THEUS 
AMERICAN: 1719—1774 


125—PORTRAIT OF A BOY WITH A DOG 


Height, 2924 mches; width, 25 mches 


STANDING figure of a boy, nearly at full-length, facing the spectator, 
very slightly turned toward the left. He stands before the base of a 
pillar, which is on the right, with a landscape background on the left. 
On a green mound which is as high as his belt, in front of him and to 
his right, lies a brown pet dog about whose neck he places his hands. 
He is a round-faced and rosy-cheeked young gentleman, in eighteenth 
century costume of yellow-lined blue coat, blue breeches, and buff-brown 
under-coat with ornate trimmings, and he wears a white jabot and wig. 


On the stretcher a paster, “Died single, Samuel Smethan, born . . . (paster 
torn) son of Samuel and Elizabeth Smethan.” 

Through the mis-copying of this “born” as “Bos,” with the implication of 
Boston, an idea arose that this was a northern portrait, and identity of the persons 
mentioned was sought in the North, without avail. Hart, on the strength of a 
photograph and the paster information (he had not seen the canvas), attributing 
the painting to Theus with confidence, conjectured that the portrait had been 
painted on a visit made by Theus to the North about 1850, when he painted the 
portrait of Caroline Van Voorhees (Mrs. Hendrick Van Buren), No. 148, of this 
collection, although he pointed out that the palmetto in the background neutralized 
the “bos.” It seems clear that the word was written “born,” so that a further 
search may reveal the sitter as belonging to the precincts of Theus’s best known 
activities, Charleston, S. C. - 


JACOB EICHHOLTZ 
AMERICAN: 1776—1842 


126—MRS. ARUNDEL 
Height, 30 inches; width, 25 inches 


Turee-auarrer length, to left, three-quarters front; a middle-aged 
woman of agreeable expression, with chestnut-brown hair parted 
smoothly over the forehead, curled beside the temples, and enwound in 
a white kerchief or turban-like cap. She is in black, with puffed 
sleeves, and a deep ruffle of white lace about her neck. Over her arm 
and lap an India shawl. Background of reddish-brown curtain and 
conventional landscape. 7 
Jacob Eichholtz was a native of Lancaster, Pa., born in 1776. When Sully 
visited that home of Pennsylvania art and invention Eichholtz offered him his 
painting room, and Sully in recognition gave the Lancastrian some of his brushes. 
Eichholtz later had some instruction from Stuart, in Boston. He painted portraits 
of prominent persons of Lancaster county, and died in Philadelphia. His portrait 


of General Andrew Jackson, seventh President of the United States was sold in 
the Thomas B. Clarke Collection of Early American Portraits last year. 


Ewhibited at the Panama-Pacific Exhibition, San Francisco, 1915. 


JACOB EICHHOLTZ 
AmERiIcAn: 1776—1842 


127—MR. ARUNDEL (Son of M. S. Arundel) 
Height, 30 inches; width, 25 inches 


Haur-LenetuH figure of a young man of dignified mien, seated with 
figure to the front and face turned slightly toward his left shoulder, as 
-he rests his left arm and white-gloved hand on the curved arm of the 
red-upholstered chair or sofa upon which he sits. In black formal 
dress, the coat with shawl collar, white choker collar and stock. He 
has a rosy complexion, green-blue eyes and dark chestnut hair, which 
is worn in engaging disarray. Dark crimson drapery and neutral olive — 
background. 


Exhibited at the Panama-Pacific Exhibition, San Francisco, 1915. 


SAMUEL LOVETT WALDO, A.N.A. 
AMERICAN: 1783—1861 


128—WILLIAM STEELE (1762-1851) 
( Panel ) 
Height, 30 inches; width, 24°4 inches 


Harr-LenctTu portrait of the Revolutionary hero, in blue-green velvet 
coat with gilt buttons and high-rolled collar, and white waistcoat and 
stock. He is seated on a carved-gilt and red-upholstered side-chair, to 
right, three-quarters front, his face turned almost full to the front with 
alert and intent glance. Eyes dark; bristling gray hair, and florid 
complexion; a high light on the brow. He holds in his right hand an 
opened letter. Neutral background. 

William Steele, who was born in New York in 1762, served in the Revolutionary 
War. In 1780, while bearing despatches on the twenty-gun ship Aurora, which 
was captured by the British frigate Iris, he was wounded during the battle. After 
being held for some months a prisoner, he was exchanged. He married, in 1791, 
a daughter of Jonathan Dayton. William Steele’s father, Stephens Steele, was an 


active Whig in Revolutionary times, and on the British capture of New York had 
to abandon his home and a valuable property. 


Shown at the opening exhibition of the Brooklyn Institute of Arts and 
Sctences, 1897; louned by W. D. Steele, 123 Montague street, 
Brooklyn. Exhibited at the same Brooklyn Museum, 1917. 


. 


From the collection of W. D. Steele. 


JOHN SINGLETON COPLEY 
AMERICAN: 1737—1815 


129—MAJOR JOHN ANDRE (1751-1780) 
Height, 29 inches; width, 2534 inches 


THe young and gallant British major is seen in uniform and hatted, 
appearing at a little less than half-length, with figure very slightly 
turned to the left and head to the right. His face is observed three- 
quarters front, as he looks with bright, alert eye, across his left shoul- 
der; his clean-cut features are finely delineated; the flesh is warm and 
the cheeks are rosy. An inner white stock overlaps a black one, and 
his white jabot and scarlet coat collar and gold epaulettes relieve the 
deep blue-black of the coat itself. Atmospheric background with 
clouds, in polychrome of neutral tones. On a paster on the stretcher: 
“John S. Copley, pinxt., 1774.” 

The aspect, in the portrait, of the man to whom Benedict Arnold betrayed the 
plans of West Point, accords with the other likenesses of him which were popular 
on both sides of the Atlantic in his day. And he looks the enthusiastic and con- 
fident character exemplified romantically a year after the date given for this 
canvas, when, taken prisoner at the capitulation of St. John’s (1775), and stripped 
of everything else, he concealed in his mouth the picture of his first love (though 
she had married, in England), and was able to write: “Preserving this, I yet think 


myself fortunate.” Even Washington seemed to regret the necessity of Sting 
André. The date of his execution was October 3, 1780. 


JOHN SMIBERT 
AMERICAN: 1688—1751 


130—BISHOP GEORGE BERKELEY (1685-1753) 
Height, 2934 inches; width, 2514 inches 


Tue enthusiastic bishop,—Dean Berkeley he was at the time—whose 
large dreams for a universal college in the Bermudas enlisted the per- 
sonal as well as the artistic interest of Smibert, is presented head and 
bust—nearly at half-length—in his black gown, white lawn collarette 
and great curled periwig. With figure turned slightly to right, he faces 
front, looking at the spectator with kindly hazel eyes and a beneficent 
official smile, his complexion showing a pleasant pinkish warmth. On 
a square canvas, but painted for an oval frame. Dark background, 
especially deep within the oval. 

After careful examination of this portrait Charles Henry Hart wrote of it: 
“Doubtless a contemporaneous replica of the canvas in the Worcester Art Museum, 
which is signed and dated ‘Jo. Smibert, fc., 1728.’ It is an extremely good example 
of Smibert at his best, and particularly interesting from the close relations that 
existed between the subject and the painter.” 

Smibert, born a Scot, established himself as a successful portraitist in London 
at the age of thirty-two, in 1720. When, eight years later, Berkeley relinquished 
his deanery of Derry to establish a universal college of art and science in the 
Bermudas and for the benefit of all the Americas, he induced Smibert to accompany 
him as professor of art. They landed at Newport, January 23, 1728 (O. S.). ‘The 


dream collapsed, the dean returned home and became Bishop of Cloyne; Smibert 
became the leading American portrait painter of Boston. 


A paster on the stretcher of this portrait says: “Bought from the old 
Berkeley home outside Newport, R. I—‘Westward the course of 
empire’ Rs 


. ee pki nae 
Pe ey ae 


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ROBERT EDGE PINE 
AmERIcAN: 1730—1788 


131—WILLLAM ASH (circa 1800) 
Height, 30 inches; width, 2434 inches 


Hatr-Lencru, facing front, slightly to left; seated, in a red-uphols- 
tered armchair. A man of smiling countenance, and a warmth of facial 
color which caused the portrait to be attributed for many years to 
Gilbert Stuart. Black coat, and white neck-cloth and jabot, and gray 
wig. Dark brown and blackish background. ; 


On back: “Mr. William Ash, by Gilbert Stuart; relined, 1916.” 

“The accompanying painting is of my great-grandfather, William Ash, who 
was a gentleman of independent means living in New York City and vicinity about 
1800. He had a brother Thomas Ash, also a gentleman of independent means, 
having a country estate at Throgg’s Neck on Long Island Sounud. This picture 
was painted for William Ash himself, and has never been out of the possession of 
the family. It was presented to my father, the late John C. Ham of New York 
City, by Mrs. Ash, widow of the aforesaid Thomas Ash, and given to me by my 
father at the time of my marriage. We have always understood that the painting 
was by Gilbert Stuart, and it is certainly of that period.”—(Mrs.) Joserurne H. 
Prarr; 68 West 162nd street. 

Hart, with the above memorandum before him when he examined the canvas, 
declared his opinion that it was not painted by Stuart but by Pine. 

Pine was born in London in 1730 (some say 1742); he came here in 1783 with the 
idea of painting heroes of the Revolution, but was unable to complete that task, 
owing to his early death. He painted numerous portraits of notables, however, and 
Washington has recorded his pleasure in receiving him, for the painting of his 
portrait. 


JOHN NEAGLE, N.A. 
(Honorary Member, elected 1828) 
AMERICAN: 1796—1865 


132—W ASHINGTON IRVING (1783-1859) 
Height, 30 inches; width, 25 imches 


Ha.r-Lenctu, seated, to left, three-quarters front. The distinguished 
author, with smooth face, dark brown hair smoothed clear of his brow 
and brought carelessly forward beside his temples, is in easy-fitting 
black coat and waistcoat, his loose shirt-front unadorned, black cravat 
and loosely fitting choker collar. His brown-blue eyes are benign and 
thoughtful, and his features express his characteristic geniality. Neu- 
tral background grayish in the light and dark in shadow. 


A note on the well-beloved, humorous, engaging and serious writer, would be 
almost as gratuitous as an elementary biography of the distinguished American 
whose name he shared, yet the reminder may be permitted that Washington Irving 
was as well known in England as in America, that he told England in language of 
current understanding just how the two countries stood as to potentialities, that 
interest in Spain did not interfere with his interest in Washington, and that he 
knew America not only in Knickerbocker New York but through the first John 
Jacob Astor all the way to the Pacific Coast. 

John Neagle was a Philadelphian; lived and died in that city, although a casual 
journey of his parents made Boston the city of his nativity. He married Sully’s 
stepdaughter, and painted “the virile men” while Sully painted “the pretty women” 
of the City of Brotherly Love. He went to Boston and painted what has been 
called the best portrait of Gilbert Stuart. 


\ ee 


ROBERT FULTON 
AMERICAN: 1767—1815 


18383—ROBERT FULTON (1767-1815) 
Height, 30 inches ; width, 25 inches 


Tis self-portrait represents the inventor of the steamboat at half- 
length, seated, with figure slightly to right and face very slightly to 
left; blue coat, white waistcoat and stock, and choker collar; buff 
breeches. He regards the observer, with preoccupied expression, and 
holds in his right hand a small book, finger between the leaves; his left 
hand is thrust within his coat. Conventional landscape background, 
with a side-wheel steamer in a river, and in the distance a domed struc- 
ture resembling St. Peter’s at Rome and also suggesting the Capitol 
at Washington—and by some thought to be from a design Fulton is 
known to have made for the Capitol. 


On back the following pasters: “Le 16 Aout 1807, le ‘Claremont,’ bateau a 
vapeur, inventé par Fulton, citoyen americain, fit son premier voyage sur l’Hudson 
entre New-York & Albany. Le Claremont mesurait 50 metres de long sur 5 metres 
de large.” “The above writing was pasted on the back of this portrait and was 
removed by me to reline the canvas. I have replaced it in the same position it 
occupied on the first linen. Joun B. Witxrnson, Phila. May, 1910.” 

This portrait was at one time the subject of a bitter controversy, particularly 
on a declaration or confession of a former holder as to repainting or painting over 
the background. Charles Henry Hart, in a signed article in the New Era of 
Lancaster, Pa., November 30, 1912, demolished the repainting argument, by announc- 
ing that the picture had been submitted for his opinion some years previously, that 
he had then seen that the entire background had been painted over and a com- 
paratively modern walking-beam steamer introduced (instead of Fulton’s paddle- 
box type), and that the canvas had been cleaned and relined under his direction, 
revealing the true background. With his usual sledge-hammer blows Hart demon- 
strated that the portrait is of Fulton, and gave his opinion that it is by Fulton, 
and told why. The portrait was then (1912) in a Lancaster County Portraiture 
Exhibition (Lancaster claiming Fulton as its most eminent son). 


DANIEL HUNTINGTON, N.A. 
AMERICAN: 1816—1906 


134—LOUIS AGASSIZ (1807-1873) 


Height, 3014 inches; width, 25 inches 


Heap and shoulders portrait—nearly a half-length—to right, three- 
quarters front; with a nebulous sky background of gray, cream and 
blue. The great teacher is in a gray coat with dark velvet collar, 
white waistcoat and shirt, and wears a choker collar enwound in a 
cream-white stock with blue dots and tied in a loose knot. A strong 
light from the left strikes his high brow and partly bald head and florid 
cheek. His hair falls long and loosely nearly to his shoulder at the 
back, his brilliant eyes have an intent and affable far-away gaze, and 
the lines of his mouth continue the smiling suggestion of eyes and gen- 
eral countenance. Agassiz’s geniality and his hearty laugh were dwelt 


upon by Dr. Oliver Wendell Holmes. 
Signed at the lower left, “Agassiz, by D. Huntington, 1857.” 


JAMES FROTHINGHAM 
AMERICAN: 1781—1864 


135—GILBERT STUART (1755-1828) 
Height, 30 inches; width, 24 inches 


Har-LencTH (without the hands) seated, to left, three-quarters front, 
with face turned well to the front. “The master painter of America,” 
in Hart’s favorite phrase, which some painters contradict but many 
amateurs endorse and swear by, looks out at the observer with merry 
eye,a smile on his lips, and a very vivid and vigorous expression. Stray 
locks of his hair, which appears dark, curl down the centre of his fore- 
head. Complexion warm. He sits erect, and is wearing a black coat 
and waistcoat, with his white neck-cloth tied with a light flourish. 
Dark neutral background. 


“Am of the opinion that it was painted by James Frothingham, circa 1810, 
when the great artist (Stuart) was about fifty-five years of age. I consider it a 
very characteristic portrait of America’s Master Painter, and especially interesting 
from having been painted by Frothingham, who was one of Stuart’s earliest students 
in Boston, and who made many of the best copies of Stuart’s Washington that we 
have. The canvas shows the effect of the subject’s teaching in its treatment.”— 
Crartes Henry Hart, “To whom it may concern,” New York, April 26, 1917. 


THOMAS SULLY 
1872 


186—_ROBERT WALSH OF PHILADELPH IA 
(1785-1858) 
Height, 30 inches; width, 25 inches 


HAr-LeNGTH seated, figure to front ; head to left, three-quarters front. 
Portrait of a young man with finely chiseled features and thoughtful 
eves, leaning back somewhat and supporting his- head upon his left 
hand, with elbow resting upon a large open volume on a writing table 
at his side. His thin and long black hair takes its free way over his 
brow and temples. He is in black, with white stock and waistcoat, and 
gold buttons. Neutral background of dark reddish-brown. 

Robert Walsh, well-known literary man, born Baltimore, 1785, son of Count 
Walsh, an Irishman who married a Quakeress; educated at the Catholic colleges at 
Baltimore and Washington; admitted to the bar in Philadelphia in 1808, but pre- 
vented by deafness from practising. A pamphlet of large proportions, “Letter on 
the Genius and Dispositions of the French Government,” published in 1811, went 
through twelve editions in six weeks in London, Jeffrey saying of it: “We must learn 
to love the Americans when they send us such books as this.” Walsh established 
the first quarterly journal in the United States, his “American Review of pory 
and Politics.” He died in 1858. 


Painted in 1814. See Sully Register, No. 1775. Purchased from 
Henry C. Walsh of New York and sold to Mr. Smith. 


GILBERT STUART, N.A. 
(Honorary Member, elected 1827) 


ry 
o 


AMERICAN: 1755—1828 


1387—“HARL BARRY MORE” 
Height, 30 inches; width, 25 inches 


Haur-Lencru, facing the front, head directed toward the right. A 
smooth and rosy faced man of quiet expression, in gray wig and dark 
coat with gilt buttons and white revers; white waistcoat, stock and 
jabot. Brown background with dark red drapery. 


This canvas is guaranteed as a portrait by Stuart by M. Knoedler & Co., and 
the late Charles Henry Hart also passed upon it several years ago, declaring it a 
Stuart. The identity of the sitter has not been satisfactorily ascertained. Knoedler 
& Co. sold the picture as a portrait of “Admiral Barrymore.” Hart pointed out 
that the subject is not in a naval uniform—which would not be a necessity, though 
officers were customarily painted in uniform. He mentioned also that Stuart did 
paint Admiral Barrington, adding that this was not that officer. Another con- 
jecture that the portrait was of Lord Barrymore “the Sporting Earl” (1769-1793), 
etched by Rowlandson, was not borne out. But that the painting is by Stuart (Hart 
thought about 1780) is not contested. 


Exhibited at the Worcester Art Museum. 


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GILBERT STUART, N.A. 
(Honorary Member, elected 1827 


American: 1755—1828) 
138—STR RICHARD ARKWRIGHT (17382-1792) 
Height, 30 inches; width, 25 inches 


Tue celebrated inventor of the revolutionary cotton-spinning machin- 
ery which brought great wealth to England and benefited the world 
is pictured at half: length, seated, figure slightly to right and face to 
left, with light from the left falling full upon his “Feder He is ina 
white wig heavily curled, gray coat with large gold buttons, and brown 
waistcoat barred in green and yellow; white neck-cloth. Yellowish- 
brown background. 

“Sir Richard Arkwright was born at Preston, Lancashire, in 1732, and died in 


1792. Notwithstanding the obstacles thrown in his way at first by poverty and 
want of mechanical skill te reduce his inventions to practice, and afterwards by 


the unprincipled invasion of his rights by rival manufacturers, he realized a very 


large fortune; and his machines, but little improved upen, have been the means of 


almost innumerable fortunes being made by others. Mr. Arkwright was not — a 


knighted, as many suppose, on account of his inventions, but en the eccasion of 
presenting an address as High Sheriff of the County of Derby, congratulating 
George IIT on the failure of the attempt made upon his life by Margaret Nicholson,” 
—Mavwnoer’s “Treasury of Biography.” 


Exhibited at the Worcester Art Museum. 


Certified by Vicars Brothers, Old Bond street, London, as an nal | 
by Stuart “and-no replica in existence.” Believed to have been 
painted about 1784. 


GILBERT STUART, N.A. 
(Honorary Member, elected 1827) 
AmeERican: 1755—1828) 


139—_MRS. DANIEL WEBSTER 
(GRACE FLETCHER) 


Height, 2914 inches; width, 2414 inches 
Har-Lenctu seated, to right, three-quarters front, left hand resting 
against the seat-arm and right concealed beneath a crimson wrap which 
falls in folds about her elbows. She is in a gown of dark turquoise-blue 
with a deep neck-ruffle of white lace in several folds, and wears gold 
jewelry. A woman thin but of considerable frame; angular face with 
pinkish cheeks, and gray eyes; brown hair with ringlets overhanging 
the temples. Drapery and landscape background in red-brown and 
gray, rose, white and blue. | 


Grace Fletcher was born in 1781, daughter of the Rev. Elijah Fletcher of 
Hopkinton, New Hampshire; educated at Atkinson Academy, near Haverhill; in 
1807, while visiting her elder sister Rebecca, wife of Israel Webster Kelly, at 
Salisbury, N. H., met Daniel Webster, and married him at Salisbury on June 11, 
1808. ‘They had five children. She was with him for years in Washington, but 
soon after he had been sent to the Senate she was taken ill in New York on her 
way to join him, and died January 21, 1828. 

The portrait of Mrs. Webster was painted: about 1816. Shortly before Webster 
married his second wife, in 1829, he gave the portrait to the first wife’s sister 
Rebecca, referred to above, from whom it passed to Webster’s son Daniel Fletcher 
Webster, and was retained by his wife after his death. At the close of her peculiar 
career which ended in misfortune the portrait was lost to sight for a time; its 
recovery is traced in information supplied to Mr. Smith and included in his records. 


GILBERT STUART, N.A. 
(Honorary Member, elected 1827) 
AMERICAN: 1755—1828 


140—MOSES BROWN (17(7)-1820) 
( Panel) 
Height, 32 inches; width, 25°4 inches 


Haur-LencTH to left, three-quarters front, the face more fully to the 
front; seated, in a gold-frame armchair with deep rose upholstery; 
grayish-olive interior wall background. A sandy-haired man with 
somewhat florid face, clean-shaven except for short side-whiskers, and 
dark blue eyes which fix upon the observer with studious scrutiny. 
Black coat, with white waistcoat, jabot and cravat. 

Moses Brown of Beverly, Massachusetts, a member of the famous family to 
which the State of Rhode Island considers itself. so much indebted, and credited 
with being the pioneer in the introduction of cotton-spinning machinery in New 
England, was born at Waltham, Massachusetts, and was graduated from Harvard 
College in 1768. At the beginning of the Revolution he recruited a company, 
marched to the Common, was presented with sword and belt by citizens, com- 
missioned by Governor Hancock and proceeded to Washington. He was in the 
“Crossing of the Delaware” with the Beverly and Marblehead troops, under Wash- 
ington, and at the close of the war returned to Beverly. Later he formally turned 
over to the authorities his sword and paraphernalia, with a diary of his war experi- 
ences. He at once entered mercantile life, and at his death in 1820 left what was 
in those days a fortune, upward of $150,000. 


“The portrait has been owned by the following members of our family: 
Moses Brown, then by George Brown his son; then by Mary Ellen 
Brown, the daughter of George, who gave it to myself, the present 
owner. Ella Brown Hitchings (Mrs. J. W. Hitchings), East 
Saugus, Massachusetts, August 8, 1913.” 


Exhibited at the Boston Museum of Fine Art, 1887. Exhibited at the 
Worcester Art Museum. Exhibited at the Washington Centen- 
nial Loan Exhibition, Metropolitan Opera House, New York, 
1889. Eahibited at the Colonial Exhibition, Rhode Island School 
of Design (one-hundred-and-fiftieth celebration), Providence, 
1914. 


bea: at he 


GILBERT STUART, N.A. 
(Honorary Member, elected 1827) 
AMERICAN: 1755—1828) 


141—MATILDA CAROLINE CRUGER (1776-1812) 
Height, 38614 inches; width, 2814, inches 


Tris stunning portrait, which will stand up in any portrait group, and 
which won such high praise from the chief student of Stuart’s work, 
presents the charming young lady at three-quarters view, figure to the 
front and head turned toward her right, seated in a round-backed arm- 
chair whose red upholstery is finished off with gilt tacks. She is seen 
before an olive wall with a panel or a paneled window-shutter in gray at 
the left. She wears a décolleté gown of pearl-white with a lace-flounced 
neckyoke, tight sleeves with lace at the wrists, and a deep sash of light 
blue about her slender waist. A mass of soft brown hair curls about 
her head, with a long ringlet brought over one shoulder. Her fine 
features are expressive of the generous and genial “smile from within.” 


Painted in 1794, 

“The largest and the finest portrait of a woman I have ever seen or known of, 
painted by Gilbert Stuart.”—Cuartes Henry Hart. 

Matilda Caroline Cruger, born in Bristol, England, 1776; daughter of Henry 
Cruger, born in New York in 1789, who went to England and was elected to Parlia- 
ment in 1774, where, colleague of Edmund Burke, he advocated the cause of his 
native land throughout the Revolutionary War. He returned to New York in 1790, 
and Miss Cruger, a year after her portrait was painted, married Lawrence Reid 
Yates, whose’ portrait Stuart had also painted in the same year as hers (1794— 
Mason’s “Life and Works of Gilbert Stuart”). The portrait of Mr. Yates was sold 
last year at the Thomas B. Clarke sale. Mr. Yates died in 1796, and in 1800 the 
young widow married her cousin Judge Henry Walton. She died in Charleston, 
S. C., in 1812, By her second marriage she had six children. Her only child by 
her first marriage, Caroline Matilda Yates, married James Taylor of Albany, a 
widower; she died in 1866, leaving her mother’s portrait by Stuart to her step- 
daughter Maria, wife of Associate Justice Ward Hunt of the United States Supreme 
Court, for life. Mrs. Ward Hunt died July 8, 1912, and the portrait, under Mrs. 
Taylor’s will, passed to Mrs. Hunt’s niece, Mrs. Phineas P. Hillhouse. 

“I have seen and studied during a period of fifty years more portraits painted 
by Gilbert Stuart than any other person, and my survey satisfied me that as great 
an artist as Stuart was in the painting of robust, virile men, he was a much greater 
artist in the delineation of beautiful and dainty women * * * If I had known of 
the portrait of Miss Cruger and could have gotten it, it would have been the Abou 
Ben Adhem of the series and led all the rest.”—CHartes Henry Hart, in a letter, 
April 4, 1917. 


JOHN SINGLETON COPLEY 
AMERICAN: 1737—1815 


142—MRS. DAVENPORT: 
“LADY DAVENPORT” (circa 1800) 


Height, 44 inches; width, 3614 inches 


Aw affable lady with ready smile is seen at three-quarters length, stand- 
ing beside a vase of tulips, for one of which she reaches ; she clasps the 
stem lightly, her right forearm being extended across her body to attain 
the flower. Figure slightly to right, she faces front, before a conven- 
tional background of gray, brown and olive notes. She has florid 
cheeks and dark brown hair, and wears a low-cut gown of gray-brown 
satin, generously adorned with silver fringe and with frills and flounces ; 
flowing sleeves with lace, and lace-edged corsage. 


Mrs. Davenport was the wife of John Davenport, a silversmith and buckle- 
maker of Boston who removed to Portsmouth, New Hampshire, where for many 
years he was town constable—whence arose, it has been rather imaginatively con- 
jectured, the title “Lady Davenport” by which the subject has been known (possibly 
from the lady’s bearing or personality). Buckle-making becoming unprofitable “by 
reason of the introduction of shoestrings,” Davenport turned his premises into an 
inn, according to information obtained by Mr. Smith from writings of Miss Abbie 
Watson, late of Lowell, Massachusetts, and a book “Rambles Around Ports- 
mouth,” which says: “On Ash Lane, on the corner of State street, stood the Ark 
Tavern, kept by John Davenport. * * * Davenport then opened his premises as a 
public house with the sign of Noah’s Ark and denominated his house Ark Tavern, 
exhibiting in front a fanciful picture of an ark.’ There Mrs. Davenport died, 
“probably about 1818,” according to information given Mr. Smith, “while the 
Supreme Court was sitting, in February, and she was kept until the court closed 
business about three weeks after.” Miss Watson’s father bought the portrait as a 
Copley, in Portsmouth, some eighty years ago. 

In his book “John Singleton Copley,” Frank W. Bayley of Boston lists the 
portrait as a Copley, describing it, and characterizing it as “a very distinguished 
and handsome portrait of a lady by Copley, the subject of which is unknown.” 
It was subsequently that Mr. Smith, through agents sent in search, obtained the 
foregoing information. 


Exhibited at the Worcester Art Museum. 


JEREMIAH THEUS 
AMERICAN: 1719—1774 


143—MRS. HENDRICK VAN BUREN (1730-1797) : 
Wife of Dr. Hendrick Van Buren 


Height, 29°4 inches; width, 25 inches 


THREE-QUARTER-LENGTH standing figure of a bright-eyed and blond 
young woman facing the spectator, head turned a bit to her right, 
whence the light comes, enveloping the entire figure. Her oval face is 
crowned by brown hair brushed loosely but smoothly back, and decked 
over the centre of the forehead with a bow and red posies. She is in 
blue, with heavy silver embroidery, the bodice tight and décolleté, with 
lace-frilled elbow sleeves, and the skirt standing out in bulging hip- 
folds. She holds a pink rose at her breast. Gray background. 


Painted about 1750. 

On back: “Mrs. Hendrick Van Buren (Catharine Van Voorhees) 1780-1797, 
by Jeremiah Theus.” 

From Charles Henry Hart, who wrote Mr. Smith: “The portrait you own came 
direct from the subject’s family and is one of Jeremiah Theus’s very good works, 
such as are only seen in some of the old families of South Carolina and Georgia. 
* * * IT feel you may consider yourself very fortunate in the ownership of this 
portrait, as it is the only example of a Theus portrait I have ever known to be 
sold, they being cherished heirlooms in the families of the sitters.” 

That letter is dated May 22, 1917. In January, 1919, a portrait of a man by 
Theus, Alexander Broughton of South Carolina, was sold in the Thomas B. Clarke 
Collection of Early American Portraits. (American Art Association; Plaza Hotel, 
January 7, 1919.) 

Theus was well known in his day, and after a period of obscurity is becoming 
so once more, He reached South Carolina in 1739 from Switzerland, and so well 
did he paint that during the decades of his occultation his portraits have in the 
main been attributed to Copley. 


RALPH EARL 
AMERICAN: 1751—1801 


144—MRS. NATHANIEL GARDNER, 
OF GROTON, MASSACHUSETTS 


Height, 30 inches; width, 25 inches 


Hat¥F-LenctH, seated, facing the spectator, a strong light from the 
left illumining her features and her cream and rose breast, as she sits in 
a lilac-hued silken gown, décolleté, with lace-edged corsage; lace frills 
at her wrists and a creamy-white lace drapery enwrapping her shoul- 
ders. Her abundant dark brown hair is worn in an elaborate dress, 
spread and massed about her face and head, and it is looped with pearls 
and crowned by nodding ostrich-plumes. She is seated on a dark green 
sofa, against a neutral background of brownish notes. 


Mrs. Gardner was the second wife of Nathaniel Gardner, of Boston and 
Groton, whose portrait appears in the collection as a companion to this one; both 
were painted in the same year by the same artist. For biographical notes see the 
portrait of Mr. Gardner. Mrs. Gardner was Miss Mary Ann Lewis. 

Painted in 1798. In original carved wood frame designed by Paul Revere. 

Ralph Earl was born at Leicester, Mass., May 11, 1751; his father was among 
those who marched to Lexington with the Governor’s Guards. He painted Revo- 
lutionary scenes which were engraved by Amos Doolittle, and he died at Bolton, 
Conn., in 1801. While he was in England studying under Benjamin West, West 
obtained for him a royal commission to paint the king, George III. 


RALPH EARL 
AMERICAN: 1751—1801 


145—NATHANIEL GARDNER, OF GROTON, 
MASSACHUSETTS (1757-1800) 


Height, 30 inches; width, 25 mches 


Suort half-length, the hands not included, turned slightly to right with 
eyes front, the eyes blue, with a vague, reflective expression; aquiline 
nose and thin, firm lips; florid countenance, and a wig supplementing 
powdered hair banged low over the brow. A man of maturity beyond 
his years, in a.dark crimson coat with rose revers and waistcoat, and 
white stock and jabot. Observed against a blackish background with 
a single grayish-olive area of relief. (It has been observed that the 
face suggests certain portraits of Washington. ) 


Nathaniel Gardner the son of Thomas (born 1728); great-great-grandson of 
Thomas (born in England in 1641), who settled in Roxbury, Massachusetts, where 
his great-great-grandson was born in 1757. Nathaniel married in 1782 Polly 
Berry, who died in 1786 leaving two daughters. In 1787 he married Mary Ann 
Lewis (whose portrait accompanies his own in this collection), by whom he had a 
son and daughter. They lived in Boston, attending the Hollis street Meeting 
House, afterward moving to Groton, where they maintained an estate and where 
Nathaniel died in 1800. In 1798 in a letter to a member of his family he refers 
to the beautiful portraits of his wife and himself, just received, painted by his old 
friend Earl. Earl was a native of Leicester, where Gardner also had other friends, 
two of whom he appointed guardians of his four children. 

Ralph Earl, who was painting portraits in Leicester in 1771, followed Copley 
to London in 1774, studied under West and was admitted to the Royal Academy, 
and painted a portrait of George III for Windsor Castle, being recommended to 
the king for the commission while Copley, Stuart and Mather Brown were all in 
England. He returned to Connecticut in 1786, and the next year Alexander 
Hamilton found him in jail for debt in New York City, and secured for him com- 
missions which enabled his release. He painted, besides portraits, four Revolutionary 
scenes which Amos Doolittle engraved. 


JOHN WESLEY JARVIS 
AMERICAN: 1780—1839 


146—PORTRAIT OF A MAN 
(Panel) 
Height, 30 inches; width, 2484 inches 


Har-Lenctu seated, facing the observer, with a slight turn toward 
the right ; a stout man in youthful maturity, with keen eyes and warm 
color, his dark brownish hair worn carelessly, falling easily about brow 
and temple, and short but equally wandering side-whiskers continuing 
below it. He wears a black coat and creamy-white waistcoat, and white 
ruffed shirt, and a wing collar spreads its white folds over his black 
stock. His right hand is in view, resting on the arm of his chair. 


CHESTER HARDING 
AMERICAN: 1792—1866 


147—_MRS. THOMAS BREWSTER COOLIDGE 
Height, 35 inches; width, 28 inches 


Hau¥r-LencTH, standing, facing front with a slight inclination toward 
the right ; in outdoor costume, an ermine-lined gray silk cloak covering 
a rich olive gown; pale lemon-yellow gloves and black plume-laden hat 
with white lace beneath it. A woman still young, with warm complex- 
ion and sad, pale eyes, and brown hair which is worn in heavy curls 
beside the temples. Neutral background of olive-gray and brown. 


Mrs. Thomas Brewster Coolidge was Clarissa Baldwin, daughter of Colonel 
Loami Baldwin of the Twenty-sixth Massachusetts regiment of the Continental 
Army, who originated the Baldwin apple. This portrait descended to Benjamin 
Coolidge, the eldest son of Mrs. Coolidge, and to his son Baldwin Coolidge, who 
sold it to the Boston dealer from whom Mr. Smith acquired it. Chester Harding 
also painted two portraits of Mrs. Coolidge’s brother Loami Baldwin, Jr., one of 
which is in the Baldwin mansion at Woburn, Massachusetts, and the other in the 
Engineers’ Club, Boston. | 

Chester Harding, born in Conway, Mass., in 1792, had a picturesque and erratic 
career. He was a jack-of-all-trades in early life, painted houses and signs as 
far away as Pittsburgh, went to Kentucky and worked as a professional portrait 
painter there, and got together enough money to move to Philadelphia and begin to 
study in earnest. He went back to St. Louis, and in 1818 journeyed a hundred 
miles into the woods to paint a portrait of Daniel Boone, which is now in the 
collection of Mr. Herbert L. Pratt. A decade later he was a fashionable painter 
of women’s portraits in Boston, where he died in 1866. 


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JONATHAN BLACKBURN 
AMERICAN: (Circa) 1700—1765 


148—MRS. JOSHUA BABCOCK (1714-1778) 


Height, 45 inches; width, 3615 inches 


THREE-QUARTER length, seated, to left, three-quarters front. In blue 
décolleté gown, the bodice tight and decked with pearls and the elbow 
sleeves caught up with pearls; lawn undersleeves ; skirt loose, in heavy 
folds. An orange drapery thrown over a balcony railing, and encircling 
her back, falls lightly upon her right knee, and she rests her hand on 
it, holding a nasturtium. With head held noticeably erect and firm, 
she looks straight forward, past the spectator. Cheeks rosy; brown 
hair bound with pearls. Conventional landscape background, with 
cypress and other trees. 

Mrs. Joshua Babcock (Hannah Stanton) was the wife of Joshua Babcock; 
Chief Justice of Rhode Island. 

Jonathan Blackburn was born in Connecticut, the son of a painter; had a 
studio in Boston 1750-1765; is mentioned by Dunlap as a contemporary of Smibert, 
and by Tuckerman as having executed notable portraits in Boston, Portsmouth, 
N. H., and other New England cities. Represented in the Public Library, Lexing- 
ton, Mass., and the Massachusetts Historical Society, but most of his portraits are 
privately owned, the majority in Boston. It is said that he quit his Boston studio 
from jealousy of Copley. “He was a good portrait painter, and some of his pictures 
were long attributed to Copley.”—Encyclopadia Britannica. 


Exhibited, Metropolitan Museum of Art, 1911; Brooklyn Institute of 
Arts and Sciences, 1917. 


Reproduced in Babcock Genealogy, 1903; Updike’s “History a the 
Episcopal Church m Narragansett,” 1907. 


Descent of the portrait: Mrs. Babcock (1714-1778) to her son Adam 
(1740-1817) ; to his son William (1764-1840) ; to his daughter 
Elizabeth (1817-1903), wife of Rev. S. S. Mathews; to her daugh- 
ter Martha (1841-1900), wife of Dr. R. J. Pray; to her daughter 
Mary (1873-1903); to her uncle the Rev. Samuel S. Mathews 
(1847-1910) ; to his daughter Anna Elizabeth Mathews Richard- 
son of Roxbury, from whom it was purchased by Mr. Clarence S. 
Brigham of Worcester; thence to William Macbeth of New York, 
from whom Mr. Smith bought it. 


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JOHN NEAGLE, N.A. 
(Honorary Member, elected 1828) 
AMERICAN: 1796—1865 


149—MISS NEAGLE (MRS. JOHN DICKSON) 
Height, 3014, inches; width, 2514 inches 


Ha.r-LenerH, seated; very slightly to left. A mature young woman 
in a rich black gown, with broad shoulder-collar of white lace, and 
white lace cap with long lace strings. Dark hair and eyes, and warm 
complexion. She looks at the observer, with a quiet, smiling expression. 


Shadowed background. | 


On back: Painted by John Neagle, Phila., 1834. 

Considered “one of his father’s finest female portraits,” by Garrett C. Neagle, 
from whom it was obtained by Gilbert S. Parker, a personal friend, who sold it 
to Mrs. Anna P. Bly, from whom it passed, through a dealer’s hands, to Mr. Smith. 

John Neagle was born in Boston of Philadelphia parents who were there on a 
visit; he lived in Philadelphia and died there. He wedded Thomas Sully’s step- 
daughter and niece, and it has been said that while Sully “painted the pretty 
women” of the city by the Schuylkill, Neagle “painted the virile men.” He painted 
in Boston what has been called the best portrait we have of Gilbert Stuart; so at 
least Hart regarded it. 


ASHER BROWN DURAND, P.N.A. 
AMERICAN: 1796—1886 


150—MRS. WINFIELD SCOTT (1787-1866) 
Height, 34 inches; width, 27 inches 


THREE-QUARTER length seated, face to the front and figure slightly to 
the left; a dark-eyed young woman with creamy complexion and black 
hair, who does not look the years which the date on the canyas gives 
her (44). Décolleté gown of creamy-brown, the corsage lace-edged, 
with short puff sleeves, and voluminous secondary sleeves of white gauze 
coming to the wrists. Her right arm rests on a marble-top table, be- 
side a crimson dahlia, and she holds a pale purplish dahlia in her hand. 
The background includes a river landscape suggesting the Highlands 
of the Hudson or the Staten Island hills. 


Signed at the lower left, A. B. D., 1831. 


Mrs, Winfield Scott (Maria Mayo), wife of General Winfield Scott, was a 
daughter of John Mayo, Esq., of Richmond, Virginia. 


Exhibited at the Brooklyn Institute of Arts and Sciences, 1917. 


CHARLES LORING ELLIOTT, N.A. 
AMERICAN: 1812—1868 


151—PORTRAIT OF AN 
UNIDENTIFIED YOUNG MAN 


Height, 36 inches; width, 28 inches 


THREE-QUARTER-LENGTH standing figure of a well-set-up young man 
with clean-cut features, quiet brown eyes and bushy dark brown hair; 
he faces slightly toward the right, with right arm akimbo with a rest 
on an abutting balustrade. He is in black, with white waistcoat and a 
rich black neck-cloth, in the fashion of the second quarter of the nine- 
teenth century, and he wears as an outer coat a rich fabric of a soft 
golden-brown hue. Painted as a “portrait of a portrait”—the subject 
seen as painted against a sky background within an oval frame, the 
whole on a rectilinear canvas. 

Instead of declaring according to his custom that “in my opinion it is,’ Charles 
Henry Hart wrote of this portrait to James P. Labey of New York of whom Mr. 
Smith purchased it that it “is painted by Charles L. Elliott (1812-1868) who was 
the successor of Inman as easily the best portrait painter in the country for a 
score of years prior to the Civil War. This portrait is a fine example of Elliott’s 
work circa 1840, beautifully handled with much charm in its color, treatment and 
expression, that belong essentially to Elliott’s hand.’ I consider it a most desirable 
example of the work of this excellent painter.” 


ATTRIBUTED TO 
EDWARD SAVAGE 
AMERICAN: 1761—1817 


152—GHORGH WASHINGTON AND FAMILY 
Height, 25 inches; length, 30 inches 


A sMALL painting, its composition that of the large canvas owned by 
the Democratic Club—widely known for generations. A canvas painted 
(af by Savage, as is believed) by one of the painters who painted Gen- 
eral Washington and Mrs. Washington during their lifetime (although 
their portraits in the large “Family” group were not from life but from 
Savage’s own earlier originals). In the small picture here the General 
in his dark blue and buff military uniform sits at left, with right arm 
on the Custis boy’s shoulder, left hand on a chart the other end of 
which is held by Mrs. Washington, who is sitting opposite him on the 
right; Eleanor Custis, standing back of her, also takes hold of the 
chart. Behind Mrs. Washington stands the negro servant Billy Lee. 
Scene, the portico of Mount Vernon, with red draperies, and in the 
distance the Potomac at sunset. 

Edward Savage was born at Princeton, Worcester county, Massachusetts, 
where he died; son of Seth; grandson of Edward who came from Ireland in 1696. 
The grandfather Edward was son of Abraham Sauvage, who had been driven to 
Ireland from St. Algis, Picardy, by the revocation of the Edict of Nantes. Edward 
the grandson came to New York at the age of twenty-eight with a letter from the 
President of Harvard requesting Washington to sit for a portrait for the Uni- 
versity; Washington did so. (Washington’s Diary 1789-90.) In 1791 Savage went 
to London; studied under West; became an accomplished stipple engraver; returned 
to Boston; settled in Philadelphia after 1794; issued numerous plates after his own 
paintings of famous men and women, including the “Washington Family” so 


well known, which was published in 1798. Early in the nineteenth century Savage 
returned to live in Massachusetts. 


COLONEL JOHN TRUMBULL 
AMERICAN: 1756—1843 


1583—SORTIE FROM GIBRALTAR 
Height, 20 inches; length, 30 inches 


THe historic military episode the oral recital of which so greatly im- 
pressed Col, Trumbull that he was impelled not only to paint it but to 
paint it five times, is pictured in a representation of more than fifty 
figures, a score of them carried to fine detail and the principal charac- 
ters portraits. In a night landscape lightened by a brilliant and lurid 
conflagration—as the tragic event and its vivid pictorial contrasts were 
related to the painter. The Spanish hero prone, poniard in hand, as 
he looks back toward the slaughter and flames at the left, raises an arm 
before the British officers who stand grouped before him at the right. 
In the background at the right the British colors, and at the left forces 
fighting in the firelight and the flames. 


“In May of this year (1787) M. Poggi told me the story of the sortie from 
Gibraltar, which had taken place in 1781, We were walking in Oxford street, in 
early twilight. I went to my lodgings, and before I slept put upon paper a small 
sketch of the scene, now in the possession of the Atheneum, Boston.”—Trumbull’s 
Autobiography. 

Trumbull first painted the picture on a canvas fourteen inches by twenty-one, 
which he presented to West; finding he had made a mistake in the uniform of the 
principal figure he painted a second canvas, twenty inches by thirty, which was 
sold to Sir Thomas Baring for five hundred guineas. It is this canvas which’ is in 
the present collection. It was finished in 1788. His third and largest canvas, 
finished the following year, is the one now in the Boston Museum of Fine Arts. 
His fourth he retained, it was inherited by his niece, and is now owned by Mrs. 
C. L. F, Robinson of Hartford. The fifth is now in the collection of Herbert L. 
Pratt of New York. The sizes of the third, fourth and fifth canvases are respectively, 
72 by 108 inches, 374 by 5814 inches, and 35 by 53 inches. 


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LIST OF ARTISTS REPRESENTED AND 
THIER WORKS 


37) 


LIST OF ARTISTS REPRESENTED 
AND THEIR WORKS 


ALEXANDER, Francis 
John L. Gould 
Master Lord 
Portrait of a Lady 

AMES, Ezra 
N. Allen, Esq. 


AUDUBON, Joun James 
Miss Audubon 
Birds 

BADGER, Josrru 


Captain John Larrabee, Lieutenant of Castle 
William 


BANNING, Witusam J. 
Samuel Waldo (1783-1861) 


BEECHEY, Sir Wii, R.A. 


Beggars at a Cottage Door: Scene near Dover, 
England 
Portrait of a Naval Officer 


BENBRIDGE, Henry 
Portrait of a Man 


BIRCH, Tuomas, N.A. 
The Shipwreck 


BLACKBURN, JonatHan 
Mrs. Joshua Babcock (1714-1778) 


CATALOGUE 
NUMBER 


57 


79 


35 


18 
97 


5A 


77 


148 


BRIDGES, CHARLES 
Portrait of a Lady 


BROWN, MATHER 
Portrait of a Man 


BRUSH, Gerorcrt Der Forest, N.A. 
The Weaver 


BYZANTINE SCHOOL 
An Ikon: The Madonna and Child 


COLE“ J cnn; aie 
Portrait of a Man 


CONSTABLE, Joun, R.A. 
A Landscape: Sun and Shower 
Flatford Lock 


COPLEY, JoHN SINGLETON 


Gawen Brown (1719-1801) 

Major John André (1751-1780) 

Mrs. Davenport: “Lady Davenport” (circa 
1800) 


COTES, Francis, R.A. 
Portrait of Miss Anna Williams 
Portrait of a Lady 


CROME (OLD CROME), Joun 
Part of a Forest 
Yarmouth Beach 


The Mill 


DICKINSON, Anson 
Portrait of a Lady 


CATALOGUE 
NUMBER 


64 


58 


24 


10 


84 
88 


122 
129 
142 


93 
98 


21 
83 
86 


A9 


DOUGHTY, THomas 


Landscape with Figures 
Landscape with Figure 
Landscape 


DUNLAP, WitumunM, N.A. 
Captain Watson 


DURAND, AsHErR Brown, P.N.A. 
Mrs. Winfield Scott (1787-1866) 


EARL, RaLru 


Mrs. Nathaniel Gardner, of Groton, Massa- 
chusetts 

Nathaniel Gardner, of Groton, Massachusetts 
(1757-1800) 


EICHHOLTZ, Jacos 


Mrs. Arundel 
Mr. Arundel (Son of M. S. Arundel) 


ELLIOTT, Cuartzs Lorine, N.A. 
Portrait of an Unidentified Young Man 


ENGLISH SCHOOL 
Portrait of an Ecclesiastic 


A Child with a Squirrel 


ETTY, Win, £.A. 
A Nude 


FISHER, Atvan 
River Landscape with Horseman 


FRAZER, OLiver 
Portrait of a Lady 
Portrait of a Man 


CATALOGUE 
NUMBER 


12 
22 
23 


538 


150 


144 


145 


126 
127 


151 


69 
70 


19 


71 


39 
40 


FROTHINGHAM, James 
Mrs. Phinias Carlton 
Gilbert Stuart (1755-1828) 
FULTON, Roperr 
Robert Fulton (1767-1815) 


FURNESS, Joun Mason 
John Vinal: “Master Vinal” (1736-1823) 


GAINSBOROUGH, Tuomas, R.A. 


A Landscape 
Portrait of Mrs. Cockburn of Rochester 


GREENWOOD, Eruan ALLEN 
Portrait of an Unidentified Man 
Portrait of a Man 


GREENWOOD, JoHn 
William Lynde, Esq. (1710-) 


HARDING, CHESTER 
Mrs. Thomas Brewster Coolidge 


HART, Grorce D. 
“Old Ironsides”’ 


HESSELIUS, Gustavus 
John Leeds (1705-1790) 


HOGARTH, Wiu11aAM 


Miss Pert: A Conversation Piece 


HOGARTH § (Attributed to) 


A Conversation Piece 


HOGARTH (Manner of) 
An Interior 


CATALOGUE 
NUMBER 


4] 
135 


133 


46 


85 
99 


38 
68 


63 


147 


78 


11 


89 


66 


14 


CATALOGUE 
NUMBER 
HOGARTH (Period of) 
An Artist in Contemplation 16 


HOMER, Wrwnstow, N.A. 


The Cock Fight 25 
 HOPPNER, Jonny, R.A. 
Portrait of the Countess of Euston 95 | 
Portrait of Sir George Beaumont 101 
Portrait of Miss Home (“The Girl with the 
Kitten” ) 103 


HUBARD, WituiAmM JAMES 
John Marshall (1755-1835) 119 


HUDSON, THomas 
Portrait of a Young Woman 107 


HUNTINGTON, Danire.t, N.A. 
Louis Agassiz (1807-1873) 134. 


INMAN, Henry, N.A. 
Portrait of a Man 6 
Portrait of the Artist’s Father 29 
Mrs. Elizabeth Oakes Smith, 
née Prince (1806-1893) 1138 


JARVIS, JoHn WESLEY 


Daniel Dewey Barnard (1797-1861) | 117 
President Washington 124 
Portrait of a Man 146 


J OHNSON, HENRIETTA 
Lady Johnson, Wife of Sir Nathaniel Johnson 47 
Governor Sir Nathaniel Johnson (1644-1712) 48 


CATALOGUE 
NUMBER 


REYNOLDS, Sir Jospua (Attributed to) 


A Young Girl 7 
ROMNEY, Gerorcer 

Portrait of a Man in a Red Coat 100 

Portrait of Mrs. Phipps 106 


RUSSELL, Joun, R.A. 
Portrait of a Girl with a Rose 67 


SAINT MEMIN, CuHartes Bare JULIEN FEVRET DE 


T'wo Portraits: General Aquila Giles and 
Elizabeth Shipton Giles 111 


SARGENT, Cou. Henry | 
Sarah Anne St. John (1794-1867) 37 


SAVAGE, Epwarp (Attributed to) 
George Washington and Family 152 


SHARPLES, James 
Portrait of a Man 114 


SMIBERT, Joun 


Bishop George Berkeley (1685-1753) 130 
STOTHARD, Tuomas, R.A. 

A. Midsummer Night’s Dream 3 
STUART, Giupert, N.A. 

“Karl Barrymore” 137 

Sir Richard Arkwright (1732-1792) 138 

Mrs. Daniel Webster (Grace Fletcher) 139 

Moses Brown (17(?)-1820) 140 


Matilda Caroline Cruger (1776-1812) 141 


SULLY, Tuomas, N.A. 
Double Picture: Portrait of Miss Sully and 
Self-portrait of the Artist 
Springtime 
“The Young Poet” 
Robert Walsh of Philadelphia (1785-1858) 


THEUS, Jeremiau 


Portrait of a Boy with a Dog 
Mrs. Hendrick Van Buren (1730-1797) : 
Wife of Dr. Hendrick Van Buren 


TRUMBULL, Cotonet Joun 
Caleb Strong, Governor of Massachusetts 
(1745-1819) 
Sortie from Gibraltar 


UNIDENTIFIED 
Portrait of a Man 


UNKNOWN 
The Pursuing Satyr 
Portrait of a Young Man 
Portrait of a Man 
Portrait of a Lady 
Portrait of a Gentleman 
Signers of the Declaration of Independence 
George Washington 
Bishop G. W. Doane (1799-1859) 
Old Lady in a White Cap 


Madame Abiel Fitch, Wife of Hon. Thomas 


Fitch of Boston 


John Fitch, Son of Hon. Thomas Fitch of 


Boston 


CATALOGUE 
NUMBER 


1538 


65 


Oo Mm oO -» 


26 
27 
30 
453 


59 


60 


CATALOGUE 
NUMBER 
VANDERLYN, Joun 
Portrait of a Man 118 
WALDO, Samuet Loverr, A.N.A. : 
William Steele (1762-1851) 128 
WEBSTER, THomas, &.A. 
Dotheboys Hall (Squeers School) 82 
WEST, Bensamin, P.R.A. 
Allegorical AA, 
The Holy Spirit Descending upon Christ after 
His Baptism 76 
WHITE, Joun Buake | 
Gen. Marion in His Swamp Encampment, in- 
viting a British Officer to Dinner 36 
WILKIE, Str Davin, R.A. 
The Blind Fiddler 17 
Camping Gypsies 80 
WILLIAMS, HEnry 
Portrait of an Old Lady 73 
WOOLASTON, Joun’ (Attributed to) 
Martha Washington 45 


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